European Works of Art

AUCTION ENQUIRIES AND INFORMATION

Sale Number: 028

Code Name: POPCORN

Enquiries: Matthew Barton Henrietta Grant

Consultants: Phillip Howell (Ceramics) Peter Arney (Ceramics) John Culme (Silver & Vertu) Anabel Yorke (Jewellery) Justin Roberts (Jewellery)

Online Catalogue: www.OlympiaAuctions.com www.the-saleroom.com www.invaluable.com www.drouotonline.com

Live internet bidding available through: www.the-saleroom.com www.OlympiaAuctions.com www.invaluable.com

www.drouotonline.com

Olympia Auctions

25 Blythe Road, London W14

Tel:+44 (0) 20 7806 5545

Fax:+44 (0) 20 7806 5546 Email: decorativearts@olympiaauctions.com

Photography: Rolant Dafis

Front Cover: Lots 85 & 100 Back Cover: Lots 172

EUROPEAN WORKS OF ART

TO BE SOLD BY AUCTION

Blythe

W14 0PD

PUBLIC EXHIBITION

IMPORTANT INFORMATION FOR BUYERS

Definition “Auctioneers” Olympia Auctions. All lots are offered subject to the Conditions of Business reproduced on the website www. OlympiaAuctions.com, and printed at the end of the auction catalogue.

A Buyer’s Premium of 25% is applicable to all lots. The Buyer’s Premium is subject to VAT at the standard rate (currently 20%). Unless otherwise indicated lots are offered for sale under the auctioneer’s margin scheme and VAT on the Buyer’s Premium is payable by all Buyers.

Unless otherwise stated all lots are subject to a reserve set at the low estimate or below. Estimates are published as a guide only and are subject to review. The actual Hammer Price of a lot may well be higher or lower than the range of figures given and there are no fixed “starting prices”.

The Auctioneers will be pleased to execute bids on behalf of those clients unable to attend the sale in person, subject to our Conditions of Business. All bids must be submitted in writing in good time and lots will always be purchased as cheaply as possible (depending on any other bids received, reserves and competition). This service is offered free of charge. Olympia Auctions are pleased to offer free online bidding directly through their website at www.OlympiaAuctions.com. Other online bidding platforms making an additional surcharge are available for this auction, please see the relevant platforms for further details. The Auctioneers may supply quotations for shipping of purchases, including transit insurance and VAT refund administration fees, and where possible will endeavour to assist in the application for any export licenses which may be required. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements. Olympia Auctions are not responsible for delays in delivery which might be caused by shippers or local customs.

Symbols

Ivory and Restricted Materials (CITES)

‘~’ Lots marked with the symbol ‘~’ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. Lots containing elephant ivory are registered for this sale under a UK exemption. As the Auctioneers of these articles, the Auctioneers undertake to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of the Bidder and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accept no liability for any lots which may be subject to CITES but have not been identified as such. Olympia Auctions suggests that buyers check with their own goverment regarding wildlife import requirements prior to placing a bid.

‘‡’ ‘†’ Lots marked with the symbol ‘‡’ have been imported from outside the UK, to be sold at auction under Temporary Admission Rules. If purchased by a UK buyer, the Buyer will become the importer and must pay VAT at the rate of 5% on the Hammer Price. Lots marked with the symbol ‘†’ are subject to normal VAT rules and the standard VAT will be charged on both the Hammer Price and Buyer’s Premium. Buyers will normally be eligible to obtain a refund in respect of VAT, upon satisfactory documentary evidence of exportation. Further information on this matter is available on request.

‘☐’ For items with No Reserve.

Cataloguing Practice

PLEASE NOTE THAT ALL MEASUREMENTS ARE APPROXIMATE AND THAT ILLUSTRATIONS ARE NOT TO SCALE. Weights may only be accurate to within 5 grams. Weights shown as ‘(*oz)’ are in Troy Ounces and usually rounded down to the full ounce.

It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need re-oiling after a certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method.

Condition is not normally recorded and all lots are sold as viewed. Condition reports can be requested prior to sale. Whilst the Auctioneers are pleased to provide a general report of condition, the Auctioneers are not professional conservators or restorers and any statements made are merely subjective, qualified opinion. Prospective Buyers should satisfy themselves in person wherever possible as to the condition of a lot, or ask an agent to inspect it for them.

Payment

Payment is due in sterling at the conclusion of the sale and before purchases can be released. Please note that we require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale. Cash and UK registered debit card payments above £6,000 and "card holder not present" payments above £2,000 cannot be accepted.

Payment can be made online at www.OlympiaAuctions.com/payments. Electronic transfers may be sent directly to our bank account: HSBC Bank IBAN Number: GB39HBUK40190422033119 38 High Street BIC: HBUKGB4B Dartford Sort Code: 40-19-04 Kent Account No: 22033119 DA1 1DG Account Name: Olympia Auctions VAT Registration Number: 144181627

Collection and Storage

On receipt of cleared funds, lots can be collected from the premises at 25 Blythe Road, London, W14 0PD. The Buyer or Buyer’s agent must bring photographic ID for collection. We require written confirmation from the Buyer if collection is made by a third party. Please note that collection may be made during working hours only, usually Monday to Friday 9.30 to 17.00. All lots should be cleared within 10 working days of the auction date, after which they will be transferred to a third party for storage. A transfer fee of £25 per lot plus all incurred transfer and storage costs due to the third party will be payable prior to release.

Wednesday

Starting at 11am European Works of Art

1

A MEISSEN TOPOGRAPHICAL CABINET CUP AND SAUCER, CIRCA 1820, blue ground, painted with a view of Dresden across the Elbe in a rectangular gilt frame, the gilt entwined snake handle with mask terminal, on three gilt paw feet, blue crossed swords mark and numeral 1, black painted 'Dresden', cup 11cm high £300-500

2

A MEISSEN PART COFFEE SERVICE, CIRCA 1820, painted 'en grisaille' and gilt with scattered flowers inside gilt line borders, comprising a cylindrical coffee pot and cover, a milk jug and cover, a sugar bowl and cover, and two coffee cans and saucers, blue crossed swords and numeral 1 marks, coffee pot 17.5cm high (10) £200-300

3

A PORCELAIN FIGURE OF 'JODELET' FROM THE COMMEDIA DELL'ARTE, PROBABLY MEISSEN, 18TH / 19TH CENTURY, after the model by Johann Joachim Kändler (1706-1775), standing with right hand raised, on pad base applied with a flower, blue crossed swords mark to base, 15cm high £150-250

4

A MEISSEN (MARCOLINI) GROUP OF THE BETROTHAL, EARLY 19TH CENTURY, modelled by Michel Victor Acier (1739-1799), a seated gentleman with a basket of flowers on his lap, a female standing beside, before a rectangular plinth supporting a covered vase, on an oval mound base moulded with egg and dart border, blue corssed swords and asterix mark, 22cm high £250-350

5

A MEISSEN FIGURE OF THE FRIGHTENED HARLEQUIN, 20TH CENTURY, after the model by Johann Joachim Kändler (1706-1775, standing against a tree stump in a recoiling pose, wearing a brightly coloured chequered jacket, blue and white pantaloons with gilt stripes, the mound base applied with flowers, blue crossed swords mark, incised No.259, 16cm high £200-300

6

A MEISSEN FIGURE OF HARLEQUIN PLAYING A PUG, 20TH CENTURY, after the model by Johann Joachim Kändler (1706-1775), leaning against a tree stump, winding the tail of the pug held under his left arm, wearing diamond chequered shirt with ruffled collar and brown and black breeches, the mound base applied with flowers, blue crossed swords mark, incised No.3043, impressed 1470, 18cm high £200-300

7

A MEISSEN EQUESTRIAN GROUP, LATE 19TH CENTURY, modelled as a hussar on a rearing horse, holding a gun in his right hand, on a rectangular grassy mound base moulded with gilt-edged scrolls, cancelled blue crossed swords mark, incised No. 1898, 17.5cm high £100-150

8

A MEISSEN FIGURE OF A GIRL, 19TH / 20TH CENTURY, modelled standing in 18th century costume about to fire an arrow, her left arm resting on a truncated column and supporting a basket full of arrows and her quiver, gilt scroll moulded circular base, underglaze blue crossed swords mark, incised J.32, impressed '40' and '53', 15cm high, repairs and losses £80-120

A COLLECTION OF SIX MEISSEN FIGURES FROM THE 'CRIS DE PARIS' SERIES, 20TH CENTURY, after the models by Peter Reinicke (1715-1768), comprising a Fruit Seller, a Fish Seller, a Vinegar Seller, a Flower Seller, an Oyster Seller and a Scallop Seller, blue crossed swords marks, incised and impressed numerals, tallest 15.5cm

(illustrated

A MEISSEN FIGURE OF 'CHIARINA', CIRCA 1990, modelled by Paul Scheurich as the Ballets Russes ‘Carnaval’ dancing character with arms stretched to the side holding a yellow or two purple roses in either hand, her flowered bodice above a tiered skirt edged in green, with one leg raised, on an oval base, underglaze blue crossed swords mark with four incisions, impressed 73305 and K66, 28cm high

Provenance: donated by the Meissen Factory and presented as a prize by the city of Dresden on the occasion of the International Dance Festival on 24 June 1990 (as per accompanying card)

Paul Scheurich (1883-1945) modelled in 1914 five figures or groups for Meissen from Serge Diaghilev's Ballets Russes production of 'Carnaval', including this figure of Chiarina. The ballet had been created in early 1910 by Mikhail Fokine, with music based on Robert Schumann's piano suite Carnaval (Op.9) and designs by Léon Bakst. Diaghilev's full production opened in Berlin's Theater des Westens on 10 May 1910 to wide acclaim, with repeated productions in Berlin by the company in 1912 and 1914, the ballet becoming hugely popular in Germany. See another Meissen 'Chiarina' held by the Victoria & Albert Museum, Accession No. S.709-2009 and a 'Harlequin and Columbine' from the series sold in these rooms, 23 November 2016, lot 14.

A PAIR OF ORMOLU-MOUNTED 'SEVRES' STYLE LARGE VASES AND COVERS, LATE 19TH CENTURY, pedestal urn shaped, the cobalt blue ground reserving ovals painted with portrait busts of Louis XVI or Marie Antoinette above elongated oval reserves of couples courting beside lakes, painted to the reverse with fruits and flowers, all within 'jewelled' gilt borders surrounded by further burnished gilt details, the gilt-bronze angular handles suspending husk swags and ending in Bacchic masks, the in-curved square bases on bracket feet, domed covers lacking finials, interiors with gilt-metal linings and covers, painted pseudo Sevres marks, 60.5cm high £600-900

A PAIR OF GERMAN PORCELAIN MIRRORED WALL SCONCES, LATE 19TH CENTURY, encrusted and painted with flowers, each mirror plate framed by pink fluted columns beneath a scroll moulded surmount, each lower part modelled with a putto amongst flowers below a panel painted with lovers beneath pierced curved supports to the wooden ledge, 66cm high (2)

13

A BERLIN (KPM) VASE, 20TH CENTURY, cobalt blue ground, urn shaped with gilt volute handles, painted with a portrait bust of Frederick the Great after Wilhelm Camphausen (1818-1885), the reverse gilt with the monogram 'FR II', waisted short pedestal and square base, blue sceptre mark, 25.5cm high £150-250

14 (illustrated online)

A MEISSEN DISH, CIRCA 1900, shaped oval, painted with a group of flowers inside a gilt frame against a cobalt blue ground, blue crossed swords mark, 18cm wide

£60-80

15

A 'VIENNA' STYLE CABINET PLATE, GERMAN, CIRCA 1900, painted with a portrait bust of Sohie Countess Potocka after a pastel attribted to Vigée Le Brun, signed 'Werlich', the cream border gilt with leaf garlands, apocryphal blue shield mark, gilt flower hiding an underglaze mark and titled 'Potoka' 24.5cm diameter £100-200

16 ‡ (illustrated opposite)

A GERMAN PORCELAIN PLAQUE PAINTED BY FRANZ SCHIER, MUNICH, 1894, after Nathaniel Sichel of a Classical beauty leaning sensuously against a fluted column with a wall and temple behind her, one hand resting on her head, the other, adorned with a gold snake armlet above the wrist, holding back some of her long black hair from diaphanously veiled breasts above a gold buckle and a rich red shawl wrapped around her midriff, signed lower right 'F. Schier / München 1994, the reverse inscribed 'Nach Sichel / Franz Schier. München 1894', also impressed '386', 30 x 21.7cm

Franz Schier (1852-1922) was based in Munich, painting in a variety of media, but especially known for his finely painted porcelain plaques. For a Berlin (KPM) plaque painted by Schier sold in these rooms, see 23 November 2016, lot 17.

Nathaniel Sichel (1843-1907) was born in Mainz. He trained at the Munich Academy from 1859 to 1862, followed by the Paris Academy, winning the coveted Prix de Rome in 1864. He established a highly successful studio in Berlin, gaining a great reputation for his uniquely seductive female figures, often Orientalist in theme, sometimes termed 'Sichel's beauties'.

£3000-5000

17

A ROYAL DUX FIGURAL DISH 'THE LOVERS', 1920s, modelled by Alois Johann Hampel (18531924), cream ground with gilt highlighted green details and pink flowers to the well, inscribed 'Hampel' to rear, underside impressed '1119', applied pink triangle mark and printed 'Made in Czechoslovakia' roundel, 31cm high £80-120 18

A HEREND PART DINNER SERVICE, LATE 20TH CENTURY, in the 'Fruits and Flowers' pattern, painted with a central group of fruit, flowers and vegetables, ozier moulded border, comprising: six dinner plates (25.5cm), six soup plates, six dessert plates, six side plates, a sauce tureen on fixed stand and a shaped oval dish (34cm long) (26) £300-500

A SET OF SIXTEEN ROSENTHAL PORCELAIN SMALL BOWLS AND SAUCERS, DESIGNED BY GIANNI VERSACE (1946-1997),

1990s, 'Le Voyage de Marco Polo' series, the straight sided faceted bowls decorated with two pairs of peacocks against a green trellised ground, the bowl interiors and the saucers centred by a roundel of green peacock feathers, with formal borders and gilt detailing throughout, comprising eight double handled bowls and eight of the same size but with a single handle, all with black and gilt Rosenthal/Versace mark, all in their original cardboard boxes with Rosenthal/Versace slip covers, bowls 9cm diameter, saucers 15cm diameter (32) £400-600

20 (illustrated online)

A PAIR PRESSED GLASS VASES, ENGLISH, CIRCA 1880, rippled brown and white, each moulded as a Neoclassical urn embellished with three gryphons below a Moresque border, 17cm high £50-80

A STAFFORDSHIRE BROWN JASPERWARE CHEESE DOME AND STAND, JAMES DUDSON, CIRCA 1870, sprigged with white fern leaves and lilies, with rope knot finial, 24cm high £60-80

A CHAMBERLAIN'S WORCESTER

PART DINNER SERVICE, 1830s, moulded in the white with floral foliage surrounding panels of painted flower sprigs, comprising: twenty-two dinner plates (25.5cm), sixteen soup plates (25.5cm), eleven fish plates (24cm), ten dessert plates (22.5cm), and a pair of circular soup tureens and covers, three circular sauce tureens and covers with two stands, a pair of shaped square vegetable dishes, five oval serving platters in sizes, and a large circular comport, covers with printed marks, plates impressed 'CHAMBERLAINS' (79)

£400-600

23

A SET OF SIX MINTON BONE CHINA CABINET PLATES, CIRCA 1903, each painted in the centre with a panel of sailing vessels at sea inside a gilt-edged deep blue and apricot border, puce printed marks, pattern No. 739, impressed date cipher, 23cm diameter £60-80

24

A SET OF SIX ROYAL CROWN DERBY BONE CHINA 'JAPAN' PATTERN PLATES, CIRCA 1890, each decorated with pattern '1128', red printed and impressed marks, one with date cipher for 1890, 23.25cm diameter £80-120

25

A MINTON DESSERT SERVICE, 1868-70, each painted with English garden flowers or fruits, the indented gilt rim with a burnished gilt running leaf border enclosing turquoise bead swags, comprising twelve plates, a pair of comports each with three curved supports and a pair of low comports, impressed Minton and date cipher marks, painted shape No.6855, comports 16cm high, plates 23.5cm diameter (16) £500-800

26

A STAFFORDSHIRE PORCELAIN PART DESSERT SERVICE, SECOND QUARTER 19TH CENTURY, printed and coloured with the 'Indian Tree' pattern, comprising: sixteen dessert plates, three shell-shaped dishes, two shaped oval dishes, two shaped rectangular dishes and a two-handled comport, painted pattern No.2304 (24) £100-200

27 (illustrated online)

A STAFFORDSHIRE POTTERY FIGURE OF A WHIPPET (OR GREYHOUND), THIRD QUARTER 19TH CENTURY, the white dog painted with black markings and 'Disraeli' type curls to the brow, modelled standing and clutching a rabbit in its mouth, green encrustations to the turquoise ground stump and base, 26.5cm high £80-120

28

A STAFFORDSHIRE WHITE SALT-GLAZED STONEWARE BEAR JUG AND COVER, CIRCA 1760, modelled seated, its body applied with chipped clay and picked out in dark brown slip, 28cm long Provenance: with Bernard Gulley Antiques, London £700-1000

29

A PEARLWARE 'BONEY' BEAR JUG AND COVER, PROBABLY PORTOBELLO, CIRCA 1812, modelled as a seated black bear with raspberry muzzle and collar, gripping in his paws a diminutive figure of Napoleon with hat titled 'BONEY', 28cm high £500-700

30

A STAFFORDSHIRE WOOD TYPE POTTERY TOBY

JUG, CIRCA 1785, seated holding a jug of foaming ale, a barrel between his feet and a pipe to the side, wearing a brown tricorn hat and breeches and green coat, 24.5cm high

Provenance: with R. & D. Ginns, West Sussex £500-700

31

A STAFFORDSHIRE WOOD TYPE POTTERY TOBY

JUG, CIRCA 1785, seated holding a jug of foaming ale, wearing a manganese glazed hat and breeches and yellow coat, 24.5cm high

£500-700

32

A LARGE ENGLISH PORCELAIN EASEL MIRROR, PROBABLY COALPORT, MID 19TH CENTURY, in Rococo Revival taste, the pink ground frame moulded with gilt-edged scrolls and decorated with scattered flowers, surmounted by a cartouche enclosing a monogram below an earl's coronet, the oak backing with hinged strut and with two gilt metal sconce fittings, 73cm long £700-1000

33

A PAIR OF DERBY 'VENUS' AND 'MARS' CANDLESTICK FIGURE GROUPS, CIRCA

1770, Venus with Cupid, Mars with a cockerel, each standing before a flowering tree with a candle sconce to the side, on scroll moulded bases picked out in turquoise and gilding, 21cm high £120-180

34

A PAIR OF BOW PORCELAIN 'NEW DANCER' FIGURES, CIRCA 1765, modelled as a boy and girl in dancing pose before a flowering tree, on scroll moulded bases edged in gilt, red anchor and dagger marks, approximately 18.5cm high; together with another Bow 'New Dancer' figure, as a girl, 19cm high (3)

35

TWO PAIRS OF SPODE MATCH POTS, CIRCA 1815, one pair urn shaped, the other trumpet form, beaded, painted in Imari style with pattern '967', red painted Spode 967, 16cm and 12cm high £250-350

36 (illustrated online)

A PAIR OF SPODE DISHES, CIRCA 1815, rectangular, two-handled, decorated in pattern '1943' with embossed and painted flower groups, gilt painted 1943, 20cm long; together with a Spode plate, circa 1820, painted in Chelsea style with the '2423' pattern of a central flower spray inside 'peacock scale', the border with three birds in branches, red painted marks, 21cm diameter; and a pair of Spode dishes, shell shaped, painted pattern '3883', 22cm long (5)

37

A SPODE 'NEW SHAPE' VASE, CIRCA 1820, inverted baluster with two upright gilt handles, painted with pattern '967' in Imari style, red painted 967, 18cm high £100-200

38

A SPODE 'LIZARD' SCENT BOTTLE AND STOPPER, CIRCA 1815, with the white bird crest to the neck, painted in Imari style with '967' pattern, red painted Spode 967, 10.5cm high £80-120

39

A GARNITURE OF THREE SPODE JARDINIERES AND STANDS, CIRCA 1810, flared form, moulded gilt ring handles, painted with floral pattern '409' beneath a deep blue and gilt border, gilt pattern numbers, 17 & 14cm high; together with a pair of match pots, of matching pattern (8) £100-200

40

A SPODE POT POURRI JAR AND COVER, CIRCA 1815, the bulbous body with white relief putti against a lilac ground beneath a gilt foliate border, the similarly bordered simply pierced cover over a white interior lid with gilt knop, red painted Spode 2063, 24cm high £100-200

41

TWO SPODE JUGS, CIRCA 1820, one relief moulded with putti beneath a fruiting vine border picked out in enamels, red painted mark, 17cm high, the other painted in '2283' pattern Imari style, red painted mark, 18.5cm high; together with a Spode two-handled vase, circa 1820, ovoid, with elaborate handles, painted with a woman in a landscape titled to underside 'The Task' accompanied by a verse, red painted marks, 16cm high, damage; and a Spode match pot, beaded, painted with farmer threshing wheat with a flail, unmarked, 12cm high (4)

£150-250

42

A GROUP OF SPODE PORCELAINS, CIRCA 1815-20 each painted in '1291' pattern Imari style, comprising: a pair of small plates, 18cm diameter; a London shape trio; a teacup and saucer; and a slop bowl, red painted numbers and Spode (8)

£80-120

A COLLECTION OF SPODE PLATES AND DISHES,

EARLY 19TH CENTURY, comprising: a pair of dessert plates, painted with Imari style '3071' pattern, red painted marks, 21cm diameter, another pair dessert plates, Imari style '2283' pattern, 20.5cm diameter, a saucer dish and two matching plates, Imari style '2214' pattern, a pair earthenware plates, each printed and coloured with the 'Tumbledown Dick' pattern, impressed marks, 20cm diameter, a porcelain saucer dish, painted with flower groups, a pair of dishes, green ground oval painted with pattern '2705', three pairs of Spode plates, in assorted patterns, a pair of dishes, circa 1820, shaped oval, painted in the '1918' pattern with flowers and embossed borders, 26.5cm long, and a pair of dessert plates, embossed and flower painted, 21cm diameter; together with four cruciform plates painted with flower groups (26)

£150-250

(part)

A SWISS PRIVATE COLLECTION OF ENGLISH PORCELAIN (LOTS 44-76)

‡

A SPODE CHOCOLATE CUP, COVER AND STAND, CIRCA 1815, painted with the '967' pattern in the Imari style, red painted mark, 13cm high overall

£150-250

‡

A SPODE CHOCOLATE CUP, COVER AND STAND, CIRCA 1810, the cup of tapered cylindrical form with scroll handles, painted in Japanese Kakiemon style with pattern '282', gilt '282' to saucer, 13cm high overall

£80-120

46 ‡

A RARE PAIR OF SPODE TOPOGRAPHICAL CHOCOLATE CUPS, COVERS AND STANDS, CIRCA 1824, the cups of gently waisted form set with gilt caryatid handles and butterfly knops to the covers, each cup painted with a view of Penllyn Castle in the Vale of Glamorgan inside rectangular frames against a deep cream ground, the stands painted in the centre with a 'C' below an earl's coronet for the Earl of Clarendon inside a gilt key pattern border, 12.5cm high overall

Each cup with red inscription reading: Penlline Castle, Glamorganshire, The Seat of the Earl of Clarendon, Painted by C. Hayton, November 1824.

£250-350

‡

A WORCESTER TEAPOT AND COVER, CIRCA 1770, fluted globular with entwined handle, painted with 'dry-blue' flowers, sprays and sprigs, the cover with flower knop, blue fretted square mark, 16.5cm high; together with a Worcester teabowl and saucer, circa 1770, fluted, painted with 'dry-blue' flowers enriched in gilding (4) £150-250

‡

A WORCESTER TEAPOT STAND, CIRCA 1765-70, fluted hexagonal, printed and painted with the 'Chinese Family' pattern, with figures, a table and tall stand, 15cm wide £80-120

‡

A WORCESTER TEAPOT AND COVER, CIRCA 1765-70, of globular form, printed and painted each side with the 'Chinese Family' pattern, with figures beside a table and tall stand, the cover with flower knop, 16cm high

Provenance: with Newman & Newman Ltd., London £150-250

‡

A WORCESTER TEAPOT STAND, CIRCA 1758-60, of hexagonal fluted form, painted in a Famille-verte palette with the 'Chinese Musicians' pattern of figures in a garden beneath a diaper pattern border, 13.5cm wide £100-150

51 ‡

A WORCESTER TRIO, CIRCA 176570, comprising a coffee cup, teabowl and saucer, each painted with a Chinese family, a table, a tall stand, a dog and insects inside a red and gilt 'crowsfoot' border, saucer 12cm diameter

Provenance: The C.H. Tipping Collection (paper labels) £100-150

52 ‡

A WORCESTER TRIO, CIRCA 1758, comprising a coffee cup, teabowl and saucer, printed and painted with the 'Red Bull' pattern beneath black line border, saucer 11.5cm diameter

Provenance: The Knowles Boney Collection (paper label) £100-150

53 ‡

A WORCESTER SPARROW BEAK MILK JUG, CIRCA 1765-70, the pear shaped body brightly painted with a Chinese figure sitting on a garden seat with one arm resting on a table which supports a vase of flowers, 9.2cm high £80-120

‡

A RARE WORCESTER SAUCER, CIRCA 1776-80, brightly painted with a Chinese fisherman standing beside a lobster pot holding a fish in his right hand, a tree and rocks behind him and buildings in the distance, 14.5cm diameter

Provenance: The Sir Jeremy Lever Collection, sold Bonhams, London, 7 March 2007, lot 85; The Zorensky Collection, sold Bonhams, London, Part III, 22 February 2006, lot 70; The Nina Weil Collection

Literature: Simon Spero & John Sandon, 'Worcester Porcelain, 1751-1790, The Zorensky Collection', Woodbridge, 1996, Fig.168

It has been postulated that this may have been made to replace a piece from a Chinese Yongzheng service, since it is rare to find a piece of this kind without a border design at this period.

£500-800

‡

A WORCESTER SPARROW BEAK MILK JUG, CIRCA 1765-70, the pear shaped body painted with the 'Conjuror' pattern of two Chinese figures at a table with an attendant standing beside, underglaze blue inner border, 8cm high

Provenance: Collection of J.D. & Louise Trabue (paper label 'E35')

£100-150

56 ‡

A WORCESTER BOWL, CIRCA 1760, the exterior printed and painted with the 'Red Bull' pattern, the interior with a Chinese couple and a child in a gardern, 17.5cm diameter £150-250

57 ‡

A RARE WORCESTER COFFEE CUP, CIRCA 1758-60, of bell shape with wishbone handle, painted with two Chinese boys playing in a fenced garden, a woman seated nearby with two rabbits inbetween, a bird in a gilded hoop on the reverse, 6cm high

Provenance: The Sir Jeremy Lever Collection, sold Bonhams, London, 7 March 2007, lot 52; The Billie Pain Collection, sold Bonhams, London, 26 November 2003, lot 133 £300-400

58 ‡

A WORCESTER COFFEE CUP, CIRCA 1775, with scrolling form handle, painted with two Chinese boys in a garden holding flowers beside blue rocks and a tree, 6.5cm high

Provenance: The Barbara Leake Collection of English Porcelain, sold Bonhams, London, 12 March 2008, lot 200 £100-150

59 ‡

A WORCESTER COFFEE CUP, CIRCA 1765, painted with a Chinese woman and a boy, she standing with arms raised waving a fan and watching two chickens in a fenced garden, the interior with red and gilt chainlink border, 6cm high £100-150

‡

A WORCESTER COFFEE CUP, CIRCA 1770, painted with two Chinese figures in a landscape beneath a border of gilt scrolls and iron-red leaves, 6cm high £80-120

‡

AN UNUSUAL WORCESTER GLOBULAR TEAPOT AND COVER, CIRCA 1765-70, painted, possibly in the atelier of James Giles, on each side with a panel enclosing Chinese figures and buildings against a blue diaper pattern ground reserved with panels of birds in iron-red and black, 14.5cm high £100-200

‡

A WORCESTER BOWL, CIRCA 1760, the exterior with feather moulding, printed and coloured with Chinese figures, a table, a high stand and a monkey in the branches of a flowering tree, the interior with four Chinese figures beneath an iron-red and gilt border, 20cm diameter £150-250

‡

A WORCESTER CHOCOLATE CUP, COVER AND STAND, CIRCA 1765, painted in Japanese Imari style with the 'Fan' pattern, mock oriental masks in underglaze blue, 13.5cm high overall £150-250

64 ‡

A RARE WORCESTER SAUCER DISH, CIRCA 1775, fluted ‘French’ shape, painted in the ‘Mandarin’ palette with Chinese figures in a fenced garden, two birds in the foreground and buildings in the distance, inside a diaper and cell pattern border reserved with four buildings in landscape panels, 18.5cm diameter

Provenance: The Zorensky Collection, sold Bonhams, London, Part I, 16 March 2004, lot 71, where footnoted: ‘It is rare to find this decoration, relatively old-fashioned by the later 1770s, on a shape which had only recently been introduced at that date. The combination may not have been popular, which possibly accounts for it being the only one known of its type.’

Literature: Simon Spero & John Sandon, ‘Worcester Porcelain, 1751-1790, The Zorensky Collection’, Woodbridge, 1996, Fig.180 £200-300

65 ‡

A WORCESTER CHOCOLATE CUP AND STAND, CIRCA 1770, blue ground, painted in Kakiemon style with mirror and vase shaped panels of flowers inside gilt frames against a blue-scale ground, blue fretted square mark, cup 7cm high, stand 14.5cm diameter £100-150

66 ‡

A WORCESTER CHOCOLATE CUP, COVER AND STAND, CIRCA 1770, painted with panels of flowers inside gilt foliate frames against a wet blue ground and gilt dentil rim, blue fretted square marks, 13cm high overall £150-250

‡

A WORCESTER CHOCOLATE CUP AND STAND, CIRCA 1770, painted in Japanese Kakiemon style with the 'Rich Queen's' pattern with panels of flowers and banded hedges alternating with iron-red chrysanthemum roundels against a deep blue ground, blue fretted square mark, 8cm high overall £80-120

‡

A PAIR OF BARR, FLIGHT & BARR (WORCESTER) CHOCOLATE CUPS, COVERS AND STANDS, CIRCA 1810, of tapered cylindrical form set with angular handles, each printed 'en grisaille' with shells against a ground scattered with gilt leaves, gilt line borders, impressed BFB and crown, 14.5cm high overall £150-250

‡

A GROUP OF WORCESTER PORCELAIN, CIRCA 1760-75, comprising: a blue and white coffee cup, teabowl and saucer, painted with 'Mansfield' pattern, blue workmen's marks; a teabowl and saucer painted with scattered flowers; a coffee cup, teabowl and saucer painted with cornflowers; and a fluted teabowl and saucer with turquoise border with black and white twisted ribbon (10) £150-250

‡

A SMALL GROUP OF WORCESTER TEA WARES, 1780s, painted in Neo-classical taste with black laurel festoons and flowers inside gilt line borders, comprising: a fluted milk jug and cover, a tapered cylindrical tea canister and cover, and a teabowl and saucer; together with a fluted bowl and a coffee cup and saucer, similarly decorated but in gilt; tea canister 16cm high (9) £100-150

‡

A WORCESTER PART TEA AND COFFEE SERVICE, 1780s, gilt with ribbon-tied flower swags, comprising: a globular teapot and cover, a sugar bowl and cover, a tea canister and cover, a hexagonal teapot stand, a fluted milk jug, two coffee cups, three teabowls and five saucers (18) £150-250

72 ‡

A CHELSEA-DERBY CHOCOLATE CUP AND COVER, 1770s, painted with 'peacock scales' in turquoise, pink and gilt against a deep blue ground and gilt formal border, gilt D and anchor mark, cup 7.5cm high, saucer 15cm diameter £150-250

73 ‡

A CHELSEA-DERBY CHOCOLATE CUP AND SAUCER, 1770s, painted with 'peacock scales' in turquoise, puce and gilt beneath a gilt dentil rim suspended with gilt laurel swags and green laurel garlands, gold anchor mark, cup 7.5cm high, saucer 15cm diameter £100-150

74 ‡

A CHELSEA-DERBY CHOCOLATE CUP AND STAND, CIRCA 1775, painted with flower swags suspended from a blue and gilt border and gilt dentil rim, entwined gilt D and anchor mark, 9cm high overall £70-100

75 ‡

A DERBY CHOCOLATE CUP, COVER AND A STAND, CIRCA 1775-80, painted with scattered flower sprays and sprigs inside a gilt dentil rim, cup with puce crowned D and crossed batons, saucer with blue crowned D, 12.5cm high overall £100-150

76 ‡ (illustrated online)

AN ENGLISH PORCELAIN CHOCOLATE CUP, COVER AND STAND, PROBABLY COALPORT, EARLY 19TH CENTURY, blue and white, printed with a dragon pattern inside key pattern borders, stand 16.5cm diameter; together with two pearlware teabowls and saucers (7)

Provenance for the chocolate cup: The Edmundson Collection £70-100

77

A PAIR OF SILVER PLAQUES, SPANISH, LATE 17TH CENTURY, oval, chased high relief, with half-length figures of St. Leander in Bishop's vestments holding a pen in one hand and heart in the other; the other of the Virgin weeping, 14 x 13cm, 21 x 19.5cm including giltwood frames

Provenance: Sotheby's, London, 16 December 1971, lot 129; Bernard Kelly Collection, London. £500-700

78 (illustrated online)

A PAIR OF GILT-BRONZE MOUNTS, FRENCH, 19TH CENTURY, deep relief, one of putti with a cart, the other infant fawns, 2.5 x 18.5cm and 10.5 x 20cm

Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 19671969. £80-120 79

JEAN-BERTRAND ANDRIEU (1761-1822): A BRONZE MEDAL OF NAPOLEON AND THE BAPTISM OF THE KING OF ROME, the emperor in profile to dexter, the reverse with the emperor holding up his son, modelled by Andrieu in 1811, 6.8cm diameter; together with a thuya wood box, Moroccan, modern, the cover set with an earlier bronze medallion of Napoleon in profile to sinister after Romain-Vincent Jeuffroy (1749-1826), box 7.5cm diameter (2) £100-200 80

JEAN-BERTRAND ANDRIEU (17611822): TWO PAIRS OF BRONZED LEAD MEDALLIONS OF NAPOLEON AND MARIE LOUISE, all uniface and inscribed 'ANDRIEU F.' to truncation, one of conjoined profile busts in relief of the Emperor and Empress commemorating their marriage in 1810 and one of the Emperor alone, 14cm diameter, and a pair each as an opposing bust, 6.7cm, (4) £200-300

FRANZ XAVER WÜRTH (1739-1813): SET OF EIGHT PORTRAIT MEDALLIONS OF ILLUSTRIOUS FIGURES FROM ANTIQUITY, VIENNA, CIRCA 1790, relief moulded plaster, four profiles to dexter and four to sinister, in the white on a pale blue washed ground, each named in raised gilt capitals and inscribed to the base rim 'F:X:WVRT F.', all in their gilt plaster square mounts within glazed giltwood frames, medallions 14.5cm diameter, frames 19.5cm square See two others from the series, with the same frames and mounts, preserved in the Belvedere, Vienna (Inventory Nos. 5357/68).

Franz Xaver Würth was a member of the famous family of Austrian goldsmiths, silversmiths, jewellers, bronziers and medallists, suppliers to the Imperial Court and renowned across the continent. A student of the goldsmith and designer Anton Mathias Domanöck (1713-1779) at the Imperial Royal United Academy of Fine Arts in Vienna, he visited Rome several times in 1777-79 and is known principally for his fine medals.

£1000-2000

A VICTORIAN GILT-METAL MEMORIAL BUST OF THE DUKE OF WELLINGTON, CIRCA 1852, profile relief to sinister, mounted on black velvet, in its rosewood grained and glazed frame, bust 19cm high, frame 47cm high £80-120

□

A WALNUT BRASERO (BRAZIER), SPANISH, 17TH CENTURY STYLE, of low octagonal form, mounted with brass flowerheads at intervals surrounding the drop-in brass brazier bowl with drop loop handles, the short legs with an arcaded frieze between, 16.5cm high x 97cm max diameter

This table, in traditional 17th century style, may originally have had an upper tier, as suggested by the four brighter brass flowerhead bosses, which may replace sockets. For a two tier warming table in Hever Castle, Kent, see https://www.hevercastle.co.uk/news/ castle-object-month-warming-table/ £100-200

A CRUCIFIX, PROBABLY BELGIAN OR FRENCH, LATE 19TH CENTURY, the fruitwood ‘Cristo Vivo’ figure carved with an expression of supplication, nailed with arms raised above the head to the plain wood cross applied with the carved ‘INRI’ banner above and skull and bones signifying Golgotha below, 86cm long £150-250

86

A PAIR OF CHINOISERIE PAINTED PANELS, 20TH CENTURY, each depicting an arrangement of flowers in an octagonally faceted Chinese vase on a ledge against a yellow ground, on paper laid on board, 133 x 83cm including glazed wood frame painted to simulate bamboo £400-600

87

A PAIR OF FRENCH EMPIRE THREE-LIGHT ORMOLU WALL SCONCES, PARIS, EARLY 19TH CENTURY, each with a winged caryatid issuing from a berried laurel wreath holding aloft a corded horizontal ring supporting an opposing pair of eagles centred by a further eagle facing forward surmounted by the candle holders, 23cm long projecting Related designs, with a winged caryatid holding lights aloft, were ordered by the Garde Meuble Royal around 1809-1810, from the leading Paris bronziers of André-Antoine Raviro, Thomire-Duterme et Cie and Claude Galle: a pair by Galle for the Petit Trianon and another by Ravrio for Rambouillet and similar pairs by Thomire for Fontainebleau, one pair for the "Chambre de l'Empereur" and three pairs for the "grand salon du petit appartement de l'Imperatrice". £600-800

A PAIR OF FRENCH EMPIRE ORMOLU AND PATINATED BRONZE CANDELABRA, ATTRIBUTED TO CLAUDE GALLE, PARIS, EARLY 19TH CENTURY, each triform base set with winged recumbent lions supporting tapering triangular sections, the facets applied with reliefs of Cupid as a youth, each tapering cylindrical stem on paw supports below three figures of Vestal virgins, the branches each composed of five acanthus wrapped arms centred by a further light as a pedestal 'flambeau' (one branch with a sixth arm detached, the other lacking the further arm), detachable nozzles, 61cm high

Claude Galle (1759-1815), one of the suppliers of 'bronzes d'ameublement' to the Garde-Meuble Imperial, apparently delivered a pair of candelabra with similar bases to the Salon d'Imperatrice at Fontainebleau in 1807 (J.-P. Samoyault, 'Pendules et bronzes d'ameublement entrés sous le Premier Empire', Paris, 1989, p.157, fig.134). For another pair of candelabra of the same model as the present lot, see Christie's, London, 12 December 2002, lot 175.

89

A PAIR OF FRENCH ORMOLU AND PATINATED BRONZE CANDELABRA, PARIS, EARLY 19TH CENTURY, after a design by Percier and Fontaine, each with winged Victory holding up a vase supporting five lights composed of four branches and central stem ending in detachable nozzles, the patinated figures with gilt girdles and raised wings, each with an opposing raised foot, the other foot balancing on a sphere set on a milled column and stepped square base, 81.5cm high

For a sketch of about 1805, from the workshop of Percier and Fontaine of furniture and furnishings for the Empress Josephine's boudoir at St. Cloud, see the Metropolitan Museum, New York, No.63.535.1-.128 (P.19), which shows this model of Victory (or Nike) with wings and foot raised, holding aloft the candle lights. The highly popular 'Victory' candelabrum model, which appears with a number of slight variations, is most closely associated with the work of PierrePhilippe Thomire (1751-1843).

£2000-3000

90

A FRENCH ORMOLU 'SURTOUT DE TABLE', PARIS, EARLY 19TH CENTURY, in two D-shaped sections with mirror bases, the arcade pierced gallery with flowerheads between the arches enclosing stylised leaves, a border of trailing berried leaves below, with leaf-headed lion paw feet to ends and middle, mahogany backing, 103 x 59cm £1500-2500

91

A FRENCH EMPIRE ORMOLU AND PATINATED BRONZE ATHENIENNE, PARIS, EARLY 19TH CENTURY, the dish with central capstan shaped knop and stiff leaf rim, the underside with lobes centred by an inverted cone, the triform support with an arrangement of X stretchers joined by gilt roundels and ending in paw feet, stepped plinth base, 47.5cm high

An athénienne (or 'coupe') of very similar design, formerly belonging to Thomas Bruce 7th Earl of Elgin (1766-1841) and probably supplied by the marchand-mercier Martin-Eloi Lignereux, was sold at Sotheby's, London, 12 June 1992. Another pair of similar form, but lacking the central knop and on marble bases, were offered at Koller, Zurich, 26 March 2015, lot 1241, where noted that the design was published in 'Collection de Meubles et Objets de Goût', edited by Pierre de La Mésangère (1761-1831), Paris, 1807. Percier and Fontaine's 'Recueil de Décorations Intérieures', Paris, 18011812, apparently includes within plate 4 a similar athénienne design.

£800-1200

92

A PAIR OF SILVERED THREE-LIGHT CANDELABRA, PROBABLY FRENCH MID

19TH CENTURY, circular bases, slightly tapering stems and urn shaped sconces, the branches each with three arms centred by a tapered and reeded column topped by a cone finial, with a variety of foliate and milled borders throughout, 50cm high £300-500

93

A PAIR OF GILT-BRONZE CAMPANA URNS, PROBABLY ITALIAN, 19TH CENTURY, each with a gadrooned everted rim above a continuous frieze in low relief of the scenes from Ovid's Metamorphoses of Hercules rescuing Deianira from the clutches of the centaur Nessus, the Abduction of Europa by Jupiter as the bull, and Juno and the Peacock, set below with a pair of reeded foliate handles and a band of acanthus, the pedestals knopped above flutes and a square base, on square marble plinths, 42.5cm high £700-1000

94

AN ORMOLU AND PATINATED BRONZE INKSTAND, FRENCH, SECOND QUARTER

19TH CENTURY, the pedestal oblong stand with bold bar handles, centred by a covered pot flanked by cut-glass inkwells with gilt covers, 35.5cm long £300-500

95

TWO EMPIRE STYLE GILT-METALMOUNTED MARBLE INKSTANDS, FRENCH, 19TH CENTURY, one with drum form breche marble body applied with Neoclassical swags between formal borders, the mother-of-pearl top set with two porcelain inkwells, a gilt-bronze pounce pot and three quill holders below a swing handle, 12cm diameter, the other circular, with a grey marble urn with pierced cover on a white marble base with ovolo rim and three pad feet, 19cm diameter £300-400

96

A PAIR OF LACQUERED BRASS LARGE TABLE LAMPS, PROBABLY 20TH CENTURY, square bases and stems of stylised elongated leaves, 51cm high excluding electric light fittings £100-200

97

AN EMPIRE STYLE ORMOLU AND PATINATED BRONZE BRULE- PARFUM ATHENIENNE, FRENCH, 19TH CENTURY, typical form with ram’s headed supports to the bowl with pierced cover, 21cm high £100-200

98

A PAIR OF PARCEL-GILT AND PATINATED BRONZE LARGE TABLE LAMPS, FRENCH EMPIRE STYLE, on square bases, the tapering stems wrapped in stylised lanceolate leaves, 49.5cm high excluding electric light fittings £200-300

99

A GILT-BRONZE THREE-LIGHT CANDELABRUM, ENGLISH, CIRCA 1830, the triform base supporting three lion paw legs below a fluted urn-shaped stem and opposing arms, bulbous sconces, one detachable nozzle, foliate or vine borders throughout, 34cm high £300-400

A FRENCH EMPIRE ORMOLU FIGURAL MANTEL CLOCK, 'THE CHARIOT OF TELEMACHUS', PARIS, EARLY 19TH CENTURY, the case after the model by the bronzier Jean-André Reiche (1752-1817) of circa 1807, cast as a pair of horses drawing a lion-fronted chariot driven by Telemachus protected by Athena standing behind, the chariot wheel forming the dial with enamel chapter ring signed 'Ls BERGMILLER A PARIS', the pierced spokes revealing the front works, the rectangular base applied with the eagle of Zeus (Jupiter) flanked by laurel wreaths and glaives, on four fasces supports, the detachable rear chariot wheel covering an eight-day movement with silk suspension (pendulum detached) and striking on a bell, outside count wheel detached, with key, 52cm long This model is sometimes described as the Chariot of Diomedes, protected by Minerva. There exists a sketch by Reiche of the subject however, entitled 'Le Char de Télémaque', deposited in the Bibliothèque Impériale in 1807 (now the Bibliothèque Nationale, Ref.134-1807). The same model of clock is illustrated in Pierre Kjellberg, 'La Pendule Française du Moyen Age au XXe Siècle', 1997, p.417, plate D and by Tardy, 'Les Plus Belles Pendules Françaises', 1994, p.279. In Elke Niehüser, "Die Französische Bronzeuhr", 1997, p.69, it is suggested Reiche's design may have based on a model by the sculptor Jean-Baptiste Boyer (1783-1839). Similar clocks may be found in the collections of the Musée François Duesberg, Mons, Belgium, the Musée de Château de Malmaison, Rueil-Malmaison, France and in the Spanish Royal Collections. According to Tardy's 'Dictionnaire des horlogers français', Bergmiller [presumably first name Louis] was active in Paris from 1810-1830 on the Rue du Petit-Lion Saint Sauveur. £3000-5000

101

A GILTWOOD 'PORTICO' CLOCK, AUSTRIAN, EARLY 19TH CENTURY, the gilt-metal dial with automaton figures of two Classical soldiers ringing bells surrounding the enamel roundel, its circular case flanked by flowering branches in cornucopia, all on a plinth supported by four columns centred c by a mirror behind the sunburst pendulum, shaped plinth base, movement with perished silk suspension striking on two bells, 52cm high £200-300

102

A FRENCH VERRE EGLOMISE BAROMETER, PARIS, SECOND QUARTER 19TH CENTURY, black ground with gilt details, white centred circular dial in an elongated hexagonal bevelled frame, the lyreshaped surmount with white ground thermometer, 90cm high £300-500

103

A FRENCH 'BOULLE' MANTEL CLOCK, CIRCA 1900, the waisted case to the front with inlaid engraved brass foliate scrolls on a green ground between applied gilt-metal scroll mounts and a Rococo urn finial, on volute feet, the enamel chapter ring surrounding visible front works, the timepiece movement with fixed pendulum, with key, 37cm high £100-200

104

A FRENCH 'BOULLE' MANTEL CLOCK, EARLY 20TH CENTURY, the waisted case to the front with inlaid engraved brass foliate scrolls on a red ground between applied giltmetal scroll mounts and Rococo surmount, on volute feet, enamelled Roman numeral panels to the gilt-metal dial, the movement striking the hours on a gong, with key, 29.5cm high £100-200

105

A MAHOGANY BALLOON CLOCK, EARLY 20TH CENTURY, French eight-day movement striking the hours and the halves on a gong, backplate stamped for A.D. Mougin, white enamel dial with Arabic numerals, typically shaped case, the front crossbanded and with inlaid shell, on gilt-metal ball feet, 29.5cm high £70-100

106

A TOLE WARE BOX AND COVER, PROBABLY GERMAN, EARLY 19TH CENTURY, square plinth form, the cover with bird finial, the sage green ground with transfer printed foliate borders and with scenes of a couple picking hops, harvesting, gathering wood and gardening between worn gilt borders, 19cm high £80-120

107

A PAIR OF TOLE WARE GLASS COOLERS (RAFRAICHISSOIRS A VERRES), FRENCH, EARLY 19TH CENTURY, oval, decorated with a band of black grape-laden vines on a gold ground, with metal liners, 32cm across end handles; together with a pair of miniature tole ware coolers, with gilt lyre and foliate decoration on a cream ground, with lion-mask drop-ring handles, 15.5cm long (4) £150-250

108

A NORTHERN GREEK ENGAGEMENT BELT (KORONA), THRACE, 19TH CENTURY, gilt-bronze and enamelled, the buckle secured by a pin, paste set below a Byzantine eagle, the cloth belt covered with a series of giltmetal rectangular panels with silvered cartouches, approximately 80cm circumference

This type of belt, given by Thracian men to their fiancées to mark the marriage engagement, is sometimes called a 'korona', because of the crown-like shape of the buckle. Similar examples can be seen in the Museum of Folk Art and the Benaki Museum, Athens (see S. A. Papadopoulos, 'Greek Handicraft', Athens, 1969, p.229 & Angelos Delivorrias, 'Greece at the Benaki Museum', Athens, 1997, pl.862. For a buckle only, sold in these rooms, see lot 145, 25 May 2017.

£300-500

A 'TUNBRIDGE WARE' ROSEWOOD DRESSING TABLE BOX, MID 19TH CENTURY, rectangular, with slightly concave sides, the lightly domed lid with a parquetry panel of illusionary perspective cubes surrounded by a band of floral mosaic marquetry on a dark ground, a similar but blond ground band around the sides, the turquoise silk lined interior with a later beechwood compartmented tray, 26.5cm wide

£120-180

110 (illustrated online)

A VICTORIAN ROSEWOOD AND MOTHER-OF-PEARL INLAID TEA CADDY, MID 19TH CENTURY, sarcophagus form with drop-ring handles, inlaid to front and to canted lid with silvered stringing and nacre roundels at the angles, the lid also with foliate panels below a lobed border, interior of twin covered compartments with bone knops, 20cm wide; together with another rosewood tea caddy, early 19th century, plain rectangular with sycamore banding, on brass ball feet, interior of twin covered compartments with brass knops, with key, 19cm long (2) £70-100

111

A PAIR OF CHINOISERIE INLAID TEA CADDIES, PROBABLY GEORGE III AND LATER, rectangular, the sides with possibly 18th century German inlay of figures engaged in various pursuits, the sliding lids with an oval and flowerhead inlay below gilt-brass ring handles, one with distressed foiled interior, 12cm long £200-300

112 ~

A VICTORIAN SILVER-MOUNTED CALAMANDER

CIGAR HUMIDOR, GEORGE BETJEMANN & SONS, LONDON, 1898, rectangular on a bevelled base, the lid with silver-mounted corners, the cedar lined interior with six adjustable compartment and five removable ivory tickets, with associated key, 48cm long

£300-500

113

A PAIR OF BRONZED PLASTER FIGURAL TORCHERES, ENGLISH, 19TH CENTURY, in the manner of Humphrey Hopper (1767-1844), each modelled as an opposing classical figure or muse, one as Erato holding a draped tambourine to her hip supporting the pierced brass candle scone, the other with a draped bowl, on waisted circular socles, one with its cylindrical glass storm shade cut with a band of stylised leaves, the other with an associated glass storm shade with everted rim, 69cm high excluding shades

£800-1200

114

A PAIR OF BRONZE LIBRARY BUSTS OF THE DRAMATISTS RACINE AND CORNEILLE, FRENCH, 19TH CENTURY, Racine depicted with long curled hair, Corneille with his under a cap, each on a waisted square socle and square black marble plinth, 18cm & 17cm high £500-800

115

JOHN RATTENBURY SKEAPING (1901-1980): POINTER, 1978, patinated bronze modelled as the dog poised in typical pointing stance on a rounded oblong grassy base, cast by Wally Livingstone, Livingstone Art Moulders, Brenchley, Kent, number fourteen from an edition of twenty, inscribed to terrace 'JOHN SKEAPING / 78 14/20', underside with seal initialled WL, 34cm long excluding wood base

Provenance: Private Collection, Berkshire, purchased from Arthur Ackermann & Son Ltd., London, November 1980 (as per copy of receipt).

An Artist's Proof of this model, cast by Livingstone, is held by the Fitzwilliam Museum in Cambridge (M.461982), one of five Skeaping bronzes donated by Paul Mellon KBE in 1982. £800-1200

116

J. BRAULT (FL.1920s/30s): LADY AND HER ALSATIANS, a French variously patinated bronze Art Deco group, circa 1930, her flowing robe with gilt details, her arms reaching towards the flanking recumbent or standing German shepherd dogs, on a stepped and canted plinth of black and veined black and white marbles, inscribed to reverse of her robe 'Brault / BRONZE', 73cm long

Provenance: Private Collection, Berkshire; acquired Sotheby's, London, 9 November 2001, lot 111 £300-500

117 ~

A TORTOISESHELL TOILET MIRROR, ENGLISH, EARLY 20TH CENTURY, the tortoiseshell facing interrupted by ivory stringing, the bevelled looking glass with shaped and rounded arch swinging between ivory topped uprights, on downswept feet, 65cm high £100-200

118

A SAILOR’S WOOLWORK PICTURE OF A BRIG, BRITISH, MID 19TH CENTURY, probably depicting a collier ship, in full sail, 24 x 31.5cm excluding later maple and glazed frame £150-250

119

A SAILOR’S WOOLWORK PICTURE OF A MAN O’WAR, BRITISH, MID 19TH CENTURY, depicting a two deck Royal Navy ship-of-the-line, its three topsails unfurled and steaming towards a fortified headland flying the Union flag, a cutter behind, 40 x 59cm excluding later maple and glazed frame

£300-500

120

A CHINESE SILVER BEAKER, SING FAT AND / OR WING FAT, CANTON, CIRCA 1900, slightly tapered, chased in relief with battling figures, some equestrian, amid trees and pavilions against a matted ground and a shield initialled AC, stamped 90, SF, WF and artisan's mark, 9.3cm high, 101gr £300-400

121

A THREE PIECE SILVER TEA-SET, SOUTH INDIA, PROBABLY MADRAS, CIRCA 19201930, composed of teapot, sugar bowl and milk jug, each with faceted sides with panels depicting Hindu deities, teapot 19cm long; 703g £250-350

122

THREE ANGLO-INDIAN SILVER OBJECTS, KUTCH, WESTERN INDIA, CIRCA 1900, comprising a salver with pierced raised rim, a globe-shaped pepper pot and a napkin ring, salver 15cm diameter; 188gr £70-100

123

A MOUNTED NAUTILUS SHELL, PROBABLY INDIAN, MID 20TH CENTURY, the polished shell set on a loaded stepped base and tapered cylindrical stem, mounted around the rim and to the rear dome applied with two cast small figures of elephants, 21.5cm high £150-250

A MISCELLANEOUS COLLECTION OF SILVER, INDIA AND BURMA, EARLY 20TH CENTURY, comprising: a cased set of four Burmese salt cellars with spoons a Bengal jar and cover, a Bengal salt-cellar with associated spoon, a Bombay liquor measure; and a Burmese oval limepot (12)

£100-200 part

125

A GERMAN SILVER WINE CUP, 18TH CENTURY, the bowl with gilt rim and interior, on a knopped stem screwing onto a spreading base, base rim with indecipherable maker's and town marks, stamped '13' for 812 standard, 20cm high, 295gr £300-400

126

AN ITALIAN SILVER INKSTAND AND THREE BOTTLES, PROBABLY NAPLES, CIRCA 1824-1836, the rectangular tray with pale pierced gallery and on ball and claw feet, the cylindrical bottles with milled borders, the covers with ball finials, one with glass liner, one with fixed pounce cover, all with Kingdom of the Two Sicilies 834 standard marks, tray 20.5cm long; 517gr £300-400

127

A PAIR OF ITALIAN SILVER CANDLESTICKS, APPARENTLY MODENA SECOND QUARTER 19TH CENTURY, milled with formal borders, circular bases, flared cylindrical stems and urn shaped sconces with detachable nozzles, each with 832 standard town mark and another indecipherable mark, 27.5cm high, 611gr £400-600

128

AN ITALIAN SILVER CANDLESTICK, PROBABLY STEFANO SCIOLET

II, ROME, SECOND QUARTER 19TH CENTURY, milled with formal borders, circular base rising to support a triform plinth below three leaf-headed openwork paw feet at the base of the flared cylindrical stem, with three drop-ring lion masks below the pedestal urn sconce and attached nozzle, 889 standard Papal States mark and lozenge mark, 32.5cm high, base lead weighted £200-300

129 (illustrated online)

A GERMAN SILVER CANISTER, L. NERESHEIMER & CO., HANAU, CIRCA 1910, straight oval profile, the sides with raised ovals of an 18th century gentleman or lady, the lid with Cupid, import marked for Berthold Müller, London, 1910, 13.5cm high, 193gr £80-120

130

A GERMAN SILVER SALVER, MAKER'S MARK INDECIPHERABLE, EARLY 20TH CENTURY, shaped circular, plain except for the moulded rim, Reichs, maker's and '800' stamps, 34cm diameter, 711gr £200-300

131

A SOUTH AMERICAN SILVER TEAPOT, ARGENTINA, MID 20TH CENTURY, baluster, hammer finished, on three leaf headed scroll feet, fluted spout, C-scroll silver handle, stamped '925', 'Industria Argentina' and another indecipherable mark, 18cm high, 998gr £400-500

132

A SET OF NINE ARGENTINIAN SILVER SMALL DISHES AND A PLATTER, SETTEPASSI HERMANOS SA, BUENOS AIRES, MID 20TH CENTURY, the former plain dished circular, 15.5cm diameter, the circular platter slightly dished below a ribbed rim, 30cm diameter, all stamped ‘925’ and ‘INDUSTRIA ARGENTINA’, some with ‘SETTEPASSI HNOS’ stamp, 1992gr (10) £700-1000

133 (illustrated online)

A SET OF ELEVEN SOUTH AMERICAN SILVER SMALL DISHES, ARGENTINA, MID 20TH CENTURY, shaped circular, moulded rim, ‘925’ and ‘INDUSTRIA ARGENTINA’ stamps, 10.5cm diameter, 490gr £200-300

134

A SET OF THREE SOUTH AMERICAN SILVER SERVING PLATTERS, ARGENTINA, MID 20TH CENTURY, in sizes, plain dished circular, each with rims of a beaded rib, stamped '925' and 'INDUSTRIA ARGENTINA' encircling an indecipherable mark, 36.5, 35 and 29cm diameter, 3053gr £1200-1800

135

A SOUTH AMERICAN SILVER MEAT DISH, ARGENTINA, MID 20TH CENTURY, shaped oval, hammer finish, applied with a ribbed rim, 49.5cm long, 1614gr £600-900

136

A 'VIENNA SECESSIONIST' STYLE SILVER STAND, 20TH CENTURY, shaped square, each in-curved side hammer finished and pierced with a stylised panel set with hardstones, on ball feet to the corners, set with material covered card to interior base, bearing stamped monograms for Josef Hoffmann and the Wiener Werkstätte, also stamped '925', 15cm wide, 628gr all in

Provenance: The Seawolf Collection, a private European collection formed in the later years of the last century to exemplify the products, predominantly in silver, of the Arts & Crafts, Art Nouveau and Art Deco movements. For further items from this collection, sold in these rooms, see 24 November 2021, lots 532 - 574. £600-800

137 (illustrated online)

AN ELECTROPLATE-MOUNTED GLASS CLARET JUG, WMF (WUERTTEMBERGISCHE METALLWARENFABRIK), GEISLINGEN AN DER STEIGE, EARLY 20TH CENTURY, cut glass tapering body with laurel sprays and linear decoration, the mounts and angular with berried laurel borders, 31cm high £60-90

138 (illustrated online)

A GERMAN ELECTROPLATE-MOUNTED NOVELTY 'FISH' JUG, WMF (WUERTTEMBERGISCHE METALLWARENFABRIK), GEISLINGEN AN DER STEIGE, EARLY 20TH CENTURY, the curved and tapered glass body with applied loop handle, the rim mount formed as a fish head with chained detachable pin to the hinge, WMF.B mark for Britannia metal, 22cm high; together with a silver-mounted decanter and stopper, plain glass baluster body with silver neck mount, Carr's of Sheffield Ltd., Sheffield, 2002, 31cm high; another silver-mounted decanter and stopper, the squat glass body inscribed for a golf tournament, everted rim mount in silver, W.I. Broadway & Co., Birmingham, 2002, 22cm high; and an electroplate bottle ticket, stamped for 'Sherry' (4) £120-180

139

A DANISH SILVER SALT CELLAR, GEORG JENSEN, COPENHAGEN, SECOND HALF 20TH CENTURY, 'Acorn' No.62 pattern designed by Johan Rohde, circular with everted handle, with blue enamelled bowl, Jensen post 1945 marks, 6cm long; together with a Danish silver small pepperette, bulbous, with two blue guilloché enamel panels reserving stylised foliage, Volmer Bahner, Copenhagen, circa 1970, 4cm high (2) £80-120

140 (illustrated online)

A SET OF FIVE GERMAN SILVER TEASPOONS COMMEMORATING THE VICTORY AT WATERLOO, BERLIN, CIRCA 1815, each pointed terminal die-stamped with BW above profiles of Blücher and Wellington and the legend reading 'Belle Alliance, 18 Juny 1815', 13.5cm long; together with another terminal only from the set, (bowl lacking) (6)

£50-80

141 (illustrated online)

SIX GEORGIAN SILVER TABLESPOONS, VARIOUS MAKERS, LONDON, 1758-1777, Hanoverian pattern, five with shell backs, one rat-tail, five initialled; together with a pair English provincial silver tablespoons, initialled Old English pattern, George Murray, Newcastle, 1812; and a George III silver tablespoon, crested Old English pattern, maker's mark rubbed, London, 1774; 531gr (9)

£250-350

142

SET OF SIX ELIZABETH II SILVER SERVING PIECES, GARRARD & CO.

LTD., LONDON, 1976-78, Princess pattern, comprising: a pair of salad servers, a pair of fish servers and a pair of sauce ladles, 692gr all in £250-350

143

SET OF SIX ELIZABETH II SILVER SERVING PIECES, GARRARD & CO.

LTD., LONDON, 1976-79, Princess pattern, comprising: a pair of salad servers, a pair of fish servers and a pair of sauce ladles, 657gr all in £250-350

144

SET OF SIX ELIZABETH II SILVER SERVING PIECES, GARRARD & CO. LTD., LONDON, 1975 / 78, Princess pattern, comprising: a pair of salad servers, a pair of fish servers and a pair of sauce ladles, 654gr all in £250-350

145 (illustrated online)

SET OF FIVE ELIZABETH II SILVER SERVING PIECES, GARRARD & CO. LTD., LONDON, 1975-78, Princess pattern, comprising: a pair of salad servers, a pair of sauce ladles and a fish slice, 514gr all in £200-300

146 (illustrated online)

ASSORTED ELIZABETH II TABLE SILVER, GARRARD & CO. LTD., LONDON, 1970-78, Princess pattern, comprising: seven consommé spoons, nine pointed spoons, six bread forks, a pair of fruit knives and a pair of sugar tongs, 926gr (27) £350-450

147

A SET OF EIGHT ELIZABETH II

SILVER SAUCE LADLES, GARRARD & CO. LTD., 1972-78, Princess pattern, 524gr £200-300

148

A SET OF EIGHT ELIZABETH II

SILVER SAUCE LADLES, GARRARD & CO. LTD., 1975, Princess pattern, 516gr £200-300

149

A GEORGE IV SILVER FISH SLICE, JONATHAN HAYNE, LONDON, 1824, Fiddle pattern, crested, 28.5cm long, 135gr £80-120

150 (illustrated online)

A PAIR OF SCOTTISH VICTORIAN SILVER TODDY LADLES, DAVID MCDONALD, GLASGOW, 1838, Fiddle pattern, initialled G; together with a Scottish George III silver caddy spoon, initialled Fiddle Shell pattern handle and scuttle shaped bowl, William & Patrick Cunningham, Edinburgh, circa 1818; a George III silver caddy spoon, with initialled Fiddle pattern handle and fluted bowl, probably London, 1814; and a Victorian silver caddy spoon, initialled Fiddle pattern, Henry Holland & Son, London, 1860; 118gr (5)

£80-120

151

A SET TWELVE GEORGE III SILVER TEASPOONS, SARAH & JOHN WILLIAM BLAKE, LONDON, 1817, initialled Fiddle pattern; together with a set of six Edwardian silver egg spoons, initialled Fiddle pattern, Pearce & Sons, London, 1903; and a set of six Art Deco silver coffee spoons, ridged bar stems and blue guilloché enamelled terminals, W.H.Haseler Ltd. probably for Liberty & Co., Birmingham, 1938; 381gr all in (24)

£150-250

152 (illustrated online)

ASSORTED ENGLISH TABLE SILVER, 19TH / 20TH CENTURY, predominantly initialled, comprising the following Fiddle pattern: three dessert spoons, six teaspoons, two mustard spoons, and a salt spoon; together with a Fiddle, Thread and Shell pattern pair of sugar tongs and a mustard spoon; three assorted teaspoons, two salt spoons, a child's pusher, and two decorative small spoons, 479gr (22) £200-300

153 (illustrated online)

THREE CASED SETS OF ENGLISH SILVER TEASPOONS, each of six spoons, one Old English pattern set, Josiah Williams & Co. of Bristol, London, 1897, one Chippendale pattern set, Harrison Brothers & Howson, Sheffield, 1921, and one single struck Onslow pattern set, Mappin & Webb, Sheffield, 1908; together with a cased silver Christening spoon and fork, Old English pattern, Sheffield, 1922; and a small silver photograph frame, rectangular engine-turned, glazed, the sliding wood easel back with applied label 'ASPREY LONDON', in its original purple 'Asprey' cardboard box, imported for Asprey by International Bullion & Metal Brokers, London, 1977; weighable silver 279gr (qty) £120-180

154 (illustrated online)

ASSORTED FIDDLE PATTERN ENGLISH TABLE SILVER, 18181907, comprising: a set of five table forks, initialled D, Henry Holland & Son, London, 1865-67, another crested table fork, a pair of tablespoons initialled P, five teaspoons with differing scrolling initials, a pair of initialled dessert spoons, and a pair of initialled salt spoons; with a Fiddle Thread pattern dessert spoon and an Old English Thread pattern dessert spoon, 881gr (19) £350-450

155 (illustrated online)

SETS OF GEORGIAN SILVER DESSERT FORKS AND SPOONS, all Fiddle pattern, comprising: a set of seven forks, William Eaton, London, 1830; a set of four forks, engraved with scrolling initials, Paul Storr for Storr & Co., London, 1820; a set of five spoons, Eley & Fearn, London, 1815; and three further spoons, engraved with scrolling initials, probably William Hope of Plymouth Dock (Devonport), Exeter, 1821/22, 804gr (19) £350-450

156

A HARLEQUIN SET OF TABLE SILVER, VARIOUS MAKERS, LONDON, 1790-1861, single struck Bead pattern, engraved with a crest, complete for six of each of the following: tablespoons, table forks, dessert spoons, dessert forks and teaspoons (three double struck and without crest, 1887), 1387gr

£1000-1500

157 (illustrated online)

TWO SETS OF SCOTTISH WILLIAM IV SILVER SPOONS, GLASGOW, Fiddle pattern, comprising: a set of eight tablespoons, William Hannay, 1830 and a set of six teaspoons, Peter Aitken, 1832, 684gr (14)

£300-400

158 (illustrated online)

A PART SET OF EDWARDIAN TABLE SILVER, WALKER & HALL, SHEFFIELD, 1907, Rat-tail pattern, initialled HC, comprising: a pair of table forks, four dessert spoons, four dessert forks and five teaspoons, 648gr (15)

£250-350

159

A CANTEEN OF TABLE SILVER, PREDOMINANTLY G.W. ADAMS FOR CHAWNER & CO., LONDON, 1850-1866, Old English pattern, comprising: twelve tablespoons, twelve table forks, twelve dessert spoons, twelve dessert forks, eighteen teaspoons, and six salt spoons and a pair of sauce ladles, all in an associated fitted oak case, 2916gr

£1500-2500

160

A SET OF VICTORIAN TABLE SILVER, JAMES DEAKIN & SONS, SHEFFIELD, 1900, single struck Kings pattern, comprising: six tablespoons (three earlier, worn marks), six table forks, six dessert spoons, six dessert forks, six soup spoons, and two teaspoons; together with a set of six table knives and six dessert knives, Kings pattern loaded silver handles, stainless steel blades, Viners Ltd., Sheffield, 1958; weighable silver 1814gr (44)

£700-1000

161

SCOTTISH SILVER SOUP LADLE, CHARLES DALGLEISH, EDINBURGH, 1814, single struck Fiddle Shell pattern, engraved with the Dudgeon family crest and motto above the initial D, 35cm long; together with a pair of Victorian silver gravy spoons, single struck Fiddle Shell pattern, crested, John James Whiting, London, 1842, 30.5cm long; 522gr (3)

£250-350

162

SET OF THREE WILLIAM IV SILVER GRAVY SPOONS, PETER & WILLIAM BATEMAN, LONDON, 1830, Fiddle pattern, 30cm long, 380gr

£250-350

163

A PAIR OF GEORGE III AND LATER DECORATED SILVER GRAVY SPOONS, WILLIAM EATON, LONDON, 1800, Old English pattern with late Victorian flatchased decoration and gilding to the bowls, 29cm long; together with a pair of George III and later decorated silver berry spoons, typical late Victorian decoration including gilding to the bowls, Thomas & William Chawner, London, 1769, 22.5cm long; 402gr (4) £180-220

162 163 (part)

165 (illustrated online)

A VICTORIAN SILVER SAUCE LADLE, WILLIAM THEOBALDS, LONDON, 1842, with an auricular moulded terminal engraved to the underside with a crest and fluted gilded bowl, 16.5cm long; together with a Victorian silver butter knife, Albany pattern, Francis Higgins, London, 1884; and a pair of Edwardian knives, with loaded Bead pattern silver handles and shaped silver blades, Joseph Rodgers & Sons, Sheffield, 1904 (4) £70-100

166

A PART SET OF SWEDISH TABLE SILVER, C.G. HALLBERG, STOCKHOLM, 1925 / 26, Chippendale pattern, engraved with a monogram, comprising: four tablespoons, six table forks, six table knives with stainless steel blades, six dessert forks, six dessert knives with stainless steel blades, a fish fork, eight fish knives, eight teaspoons, and seven coffee spoons, 800 standard, weighable silver 1192gr (52) £400-600

164

A PAIR OF VICTORIAN SILVER SALAD SERVERS, CARRINGTON & CO., LONDON, 1899, Rat-tail pattern, crested to underside, 28.5cm long; together with a pair of Edwardian silver gravy spoons, Rat-tail pattern, William Hutton & Sons Ltd., London, 1904, 31cm long; 624gr (4)

£250-350

167

A SET OF ELIZABETH II TABLE SILVER, J.B. CHATTERLEY & SONS LTD., SHEFFIELD, 1966 / 72, Rat-tail pattern, comprising: six tablespoons, eight table forks, eight table knives with stainless steel blades, eight dessert spoons, eight dessert forks, eight dessert knives with stainless steel blades, eight soup spoons, twelve teaspoons, and twelve coffee spoons; all in an associated case, weighable silver 2681gr (78 pieces)

£1200-1800

168 (illustrated online)

FOUR SETS OF ENGLISH SILVER SPOONS, comprising: a rare set of eight George III silver teaspoons, Old English pattern, engraved with scrolled initials RML, William Eaton, London, 1808; a cased set of six Victorian silver ‘Apostle’ teaspoons and a pair of tongs, with typical twisted stems, Martin, Hall & Co., Sheffield, 1900; a cased set of six George V silver grapefruit spoons, Old English pattern, Sheffield, Robert Pringle & Sons, Sheffield, 1931; and six assorted silver teaspoons; 526gr (27)

£200-300

A CANTEEN OF GERMAN TABLE SILVER, KOCH & BERGFELD, BREMEN, CIRCA 1900, the handles with foliage and rocaille surrounding a cartouche engraved with initials LRK, comprising: ten tablespoons, twelve table forks, twelve table knives with stainless steel blades, twelve dessert forks, twelve dessert knives with stainless steel blades, twelve fish knives, twelve fish forks, twelve teaspoons, twelve sundae spoons with gilt bowls, three cake forks, and a soup ladle, a large serving scoop, a pair of smaller serving scoops, a pair of bread forks with stainless steel prongs, and a chisel with plated steel blade, '800', Reichsmarks and retailer's stamps of Simon Pasch of Wroclaw (Breslau); together with a set of six tea knives and three forks with metal tines or blades and loaded silver handles, similarly initialled, German, '800'; and the following English electroplate sets: twelve cake forks, two tea forks, twelve fruit knives and twelve forks, twelve soup spoons and eight coffee spoons; all fitted in a later case with two keys, weighable silver 2765gr £2000-3000

AN ART DECO SILVER THREE-PIECE TEA SET, WILLIAM NEALE & SON LTD., BIRMINGHAM, 1936, tapered oblong, with stepped feet and rims and stylised handles; together with a similar electroplate hot water jug, James Deakin & Sons Ltd., Sheffield, circa 1930 teapot 28 cm long, weighable silver 1047gr including composition finial and handle to teapot (4) £400-600

TWO ART DECO GEORGE V SILVER DISHES, CHARLES BOYTON & SON LTD., LONDON, 1930 / 31, the hammer-finished circular bowls on short pedestals with hexagonal and moulded bases, each set at the rim with a silver bracket to the bifurcated ivory handle, each with facsimile signature to underside 'Charles Boyton', 13cm long, 338gr all in £550-650

AN EDWARD VIII SILVER 'ROYAL ORB' INKWELL, WILSON & GILL, BIRMINGHAM, 1937, modelled on the Crown Jewel as a 'jewelled' globe surmounted by a cross but hinging open to reveal the well with blue glass liner, set on a green onyx square platform with silver base and cast lion feet to the corners, underside inscribed 'Wilson & Gill / 139 / 141 Regent St. W', 14cm high

The Royal (or Sovereign's) Orb, together with the Sceptre, both featured prominently at Queen Elizabeth II's funeral. Wrought for Charles II in 1661, they have been used at every coronation since and surely will be again for HM King Charles III. This inkwell was probably made to commemorate the subsequently abandoned coronation of Edward VIII, in the event commemorating George VI's.

£400-600

173

A PAIR OF GEORGE V ARTS AND CRAFTS SILVER PRICKET CANDLESTICKS, ALBERT JOHN WILKINS, LONDON, 1934, hexagonal, with corded borders, the bases on ball feet rising to knopped stems and everted sconces below the spike, 41cm high, 1646gr

Albert John Wilkins (1881-1953), the son of the silversmith Walter John Wilkins, was apprenticed to Frank Clarke Wheeler (of Wakely & Wheeler) in 1896. He is listed in the 1911 census as working as a 'Visiting Teacher of Art Metalwork' in the employ of the London County Council. Wilkins probably worked for H.G. Murphy, the art jeweller and silversmith, from 1911. Murphy, having enlisted for WWI, left his wife and Wilkins to run the workshop, Wilkins entering his first mark with the Goldsmiths' Company in August 1915 as partner in 'Murphy and Wilkins, gold and silver workers of 5 Kenton street, Russell Square'. It is not known how long the association continued, but Wilkins appears to have continued working from this address throughout his career, entering a second mark in June 1926. H.G. Murphy did not register a second mark until 1928, when he opened his famous 'Falcon Studio' in Weymouth Street. (See: https://petercameronantiquesilver.com/ product/an-amusing-silver-butter-dish-andknife-by-albert-john-wilkins/, accessed 05.10.22)

£800-1200

174

AN ARTS AND CRAFTS GEORGE V SILVER ROSE BOWL, GUILD OF HANDICRAFT

(CHIPPING CAMDEN), LONDON, 1930, planished, dished circular, applied below the everted rim and at the top of the spreading foot with corded and twisted ribbon fine bands, 29.5cm diameter, 1493gr £700-1000

175

A SILVER SALVER, C.J. VANDER LTD., LONDON, 1991, presentation inscribed, moulded rim, on four volute feet, 36.5cm diameter, 1316gr £500-700

176 (illustrated online)

A GROUP SIX PIECES OF CONDIMENT SILVER, ALL LONDON, comprising: a pair of cauldron form salt cellars each on three shell headed feet, with blue glass liners, C.S. Harris & Sons Ltd., 1910, 7.5cm wide; a plain cylindrical mustard pot, with blue glass liner, Spink & Son, 1973, 7cm high; a George III urn-shaped pepperette, maker's mark I.W (Grimwade 3694), 1761, 11cm high; a Victorian cruet stand, quatrefoil, beaded borders, with two glass bottles and a fixed salt cellar (one bottle lacking) Charles Boyton, 1891, 15.5cm long; and a Victorian baluster mustard pot, C.F. Hancock, 1881, 7cm high; weighable silver 630gr £250-350

177 (illustrated online)

ASSORTED ENGLISH SILVER, 20TH CENTURY, comprising: a pair of five-bar small toast racks, a pair of small oval mustard pots, a pair of lobed oval small salt cellars, a pair of baluster pepperettes, a pair of circular napkin rings with vacant cartouches each in boxes, a circular leaf engraved napkin ring in box and four assorted condiment spoons, 383gr (15) £180-220

178 (illustrated online)

ASSORTED CONDIMENT WARES, COMPRISING: a pair of American silver plated salt cellars, shaped circular, with scrolls and leafage and pedestal feet, Tiffany & Co., New York, early 20th century, 7.5cm wide; a George III style silver sugar caster, Naylor Brothers, London, 1962, 16cm high; a George III style silver pepperette, a silver cauldron salt cellar, and a cylindrical silver mustard pot, all C.J. Vander Ltd., London, 1962/63; and a Victorian electroplate cauldron salt, Mappin Brothers, Sheffield, late 19th century;weighable silver 526gr (7) £150-250

179

A GEORGE V SILVER MODEL OF A REGIMENTAL DRUM, HAWKES & SON, LONDON, 1925, the silver sides chased on a banner for the 1st Battalion Prince of Wales Volunteers (South Lancashire) above the Prince of Wales feathers, a sphinx profile titled 'EGYPT' and numbers XL, flanked by banners of battle honours, the red and cream painted wood rims held by cording, with top drumhead, two wood drum mallets, 19 x 19cm £400-600

180 (illustrated online)

A GEORGE V SILVER SALVER, ADIE BROTHERS LTD., BIRMINGHAM, 1927, shaped circular, moulded rim, engraved presentation inscription, on three scroll feet, underside with retailer’s stamp for J.C. Vickery, 30.5cm diameter, 991gr £350-450

A GEORGE V SILVER BOWL, BARKER BROTHERS OF BIRMINGHAM, CHESTER, 1921, the bowl with everted rim bordered by shaped moulding, on a short pedestal foot, 21cm diameter, 292gr £100-150

182

A GEORGE VI SILVER THREEPIECE PART TEA SET, VINERS LTD., SHEFFIELD, 1937, circular, on spreading feet, each with an applied Celtic border to the rim, comprising a teapot and a hot water jug, both with composition handles and finials, and a sugar bowl, hot water jug 18cm high; 1100gr all in £450-550

183

A GEORGE V SILVER THREEPIECE TEA SET, MAPPIN & WEBB LTD., BIRMINGHAM, 1914, almost hemispherical bodies applied with ribbing to form plain panels below waved rims, short pedestal feet, teapot 25.5cm long; 1234gr including composition knop and handle to pot £400-600

184

THREE GEORGE V SILVER SAUCEBOATS, LONDON, 1911, in typical Georgian style with three shell headed feet, a pair engraved with a crest and with flying C-scroll handles, Henry Wilkinson & Co. Ltd., 15cm long, the third similar but with attached scroll handle, Lambert & Co., 16cm long; 562gr £200-300

185 (illustrated online)

A GROUP OF FIVE SILVER CASTERS AND A TREEN EXAMPLE WITH SILVER COVER, comprising: a girdled bulging example in early 18th century style engraved with scrolled initials within a foliate strapwork cartouche, Britannia standard, Spink & Son, London, 1924, 17cm high; a girdled baluster example, C.S. Harris & Sons Ltd., London, 1908; a bulging octagonal caster, Latham & Morton, Birmingham, 1908; a Victorian baluster caster with Rococo style chased bands, the foot lead weighted, Joshua Vander, London, 1890; an Art Deco example, Mappin & Webb Ltd., Sheffield, 1956; and the treen example carved with thistles and Celtic interlacing, plain silver rim mount, pierced silver cover, S. Blanckensee & Son Ltd., Birmingham, 1922, 22cm high; weighable silver 803gr £300-400

186

A GEORGE V SILVER WAITER, HAWKSWORTH, EYRE & CO. LTD., LONDON, 1913, shaped circular, moulded rim below scrolls and shells, on three volute feet, 15.5cm diameter, 221gr £70-100

187 (illustrated online)

ENGLISH SALT CELLARS, comprising: a pair Edwardian silver, bulging oval, on shaped tapering panel feet, with blue glass liners, Thomas Bradbury & Sons, London, 1907, 8.5cm long; a pair George V silver, shaped oblong, on pad feet, with blue glass liners, Walker & Hall, Sheffield, 1914; and a cased set four electroplate cellars, cauldron form, Martin, Hall & Co., Sheffield, circa 1910; weighable silver 242gr (8)

£60-80

189

A PAIR OF GEORGE V SILVER SWEETMEAT BASKETS, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1914, in George III style, oval, each with a pierced band below an applied gadroon rim and bead and rail swing handle, on pierced rim feet, 17.5cm long, 349gr £120-180

188

A GEORGE V SILVER THREE-PIECE TEA SET, C.S. HARRIS & SONS LTD., LONDON, 1911, oval, each engraved with a crest below a moulded band and reeded rim, teapot 28.5cm long; together with a George IV silver milk jug, circular, engraved with a crest above a ribbed girdle, foliate handle, Henry Hyams, London, 1825, 14.5cm long; 1154gr including composition finial and handle to pot (4)

£400-600

190

A GEORGE V SILVER ROSEBOWL, GOLDSMITHS & SILVERSMITHS CO. LTD., LONDON, 1911, pedestal bowl applied with scrolls to the shaped rim, 18cm diameter, 450gr £150-250

191

A GEORGE V SILVER SALVER, WILLIAM ADAMS LTD., BIRMINGHAM, 1913, shaped circular, engraved initial W (or M), moulded rim, on three panel feet, 33cm diameter, 889gr £350-450

192 (illustrated online)

A GROUP OF FOUR MISCELLANEOUS SILVER ITEMS, comprising: an Irish Edwardian bowl, with punched decoration in 18th century style, on three shell-headed pad feet, John Smyth & Sons, Dublin, 1906, 12cm diameter; a plain baluster milk jug in early 18th century style, Harrods Ltd., London, 1972; a mustard pot, converted from a George III Christening tapered mug, engraved with scrolled initials, probably Elizabeth Morley, London, 1806, fitted with a slightly domed lid engraved with a crest, J.E. Terry, London, 1836, with glass liner and a small modern silver mustard spoon; and a sauceboat, oval, waved rim, three feet, Viners Ltd., Sheffield, 1964; 450gr (4) £200-300

193

AN EDWARDIAN SILVER DISH RING, D. & J. WELLBY LTD., LONDON, 1909, circular, the waisted sides chased and pierced with two vacant cartouches flanked by birds, flowers and scrolls, 21cm diameter, 501gr £500-800

194 (illustrated online)

AN EDWARDIAN SILVER-MOUNTED OAK JEWELLERY BOX, ARTHUR WILLMORE PENNINGTON, BIRMINGHAM, 1904, square, the lid mounted with a stamped roundel of 'Reynolds Angels', scroll foliate corner mounts to bevelled lid and base, distressed green fitted interior, 14cm wide; together with another silver-mounted box, bombé rectangular, dark stained wood, the lid mounted with a basket of flowers and floral corner mounts, red velvet lined interior, apparently unmarked, Continental, 20th century, 15cm long (2) £100-200

195 (illustrated online)

AN EDWARDIAN SILVER HAND MIRROR, NATHAN & HAYES OF BIRMINGHAM, CHESTER, 1902, stamped with a cartouche initialled GLC surrounded by a profusion of flowers and foliage on a matted ground, with oval bevelled glass, 29.5cm long; together with another silver hand mirror, linear engine-turning within a bead and rail border, with circular bevelled glass, Birmingham, 1936, 26cm long (2)

£80-120

196 (illustrated online)

THREE PAIRS OF ENGLISH SILVER SALT CELLARS, comprising an Edwardian pair stamped and pierced in the form of Irish dish rings, with blue glass liners, I.S. Greenberg, Birmingham, 1903, 9cm diameter, an Edwardian pair of cauldron form on three shell headed feet, gadroon rims, gilt interiors, Martin, Hall & Co., Sheffield, 1905, and a Victorian shell form pair, on ball feet, Saunders & Shepherd of Birmingham, Chester, 1893; together with a pair of small silver salt spoons; weighable silver 260gr (8) £120-180

197 (illustrated online)

AN EDWARDIAN SILVER SALVER, WILLIAM AITKEN, BIRMINGHAM, 1906, shaped circular, engraved with a presentation inscription for the marriage of Henry Cullingworth in 1908 surrounded by a band of fern fronds interrupted by diaper panels, gadroon rim, three claw feet, 20.5cm diameter, 267gr £100-150

198

A PAIR OF EDWARDIAN SILVER CASTERS, C.S. HARRIS & SONS LTD., LONDON, 1904, of elongated octagonal profile, stepped bases rising to inverted bodies engraved with vacant foliate cartouches, the cover pierced with panel of stylised leaves, 18cm high, 430gr £150-250

199

A PAIR OF EDWARDIAN SILVER DESK CANDLESTICKS, WILLIAM HUTTON & SONS LTD., LONDON, 1904, with beaded stepped square bases, stop fluted Corinthian column stems, and beaded detachable nozzles, 15cm high, loaded £80-120

200

A SILVER MATCHING THREE-PIECE TEA SET, SHEFFIELD, 1897 / 1909, all faceted oblong with a ribbed band below a gadroon rim and on four ball feet, the teapot with angular composition handle and finial, James Deakin & Sons, Sheffield, 1909, 26cm long, the milk jug and sugar bowl with similarly profiled silver handles, Thomas Bradbury & Sons of Sheffield, London, 1897, 902gr all in £300-500

201

A SET OF FOUR VICTORIAN ELECTROPLATE CANDLESTICKS, MAPPIN BROTHERS, SHEFFIELD, LATE 19TH CENTURY, with beaded borders and stepped square bases rising to stop fluted Corinthian column stems, detachable nozzles, 29cm high £150-250

202

A PAIR OF VICTORIAN SILVER STORM CANDLESTICKS, CHARLES BOYTON, LONDON, 1893, shaped circular bases and baluster stems, with bands of matted leaves in relief and lobate moulding, the urn-shaped sconces terminating in everted matted leafage below the shade supports, with their clear glass storm shades each cut with a band of leafage, loaded sticks 34.5cm, 59.5cm overall £1000-1500

203 (illustrated online)

A SCOTTISH VICTORIAN SILVER INDIAN STYLE CHRISTENING MUG, MARSHALL & SONS, EDINBURGH, 1878, cylindrical on spreading base, chased with a vacant cartouche and bands of interlacing flanking a band of panelled animals and stylised palmettes, 9cm high, 145gr £80-120

A VICTORIAN SILVER-MOUNTED PHOTOGRAPH FRAME, WALKER & HALL, BIRMINGHAM, 1899, oblong, with a pair of glazed oval apertures surrounded by a sheet of stamped foliage and scrolls on a matted ground, blue velvet easel backing, 17cm long; together with an Italian silver mounted photograph frame, the rectangular aperture with decorative silver framing, caramel silk easel backing, Buzzetti, Varese, early 20th century, 800 standard, 13cm long (2)

£100-200

205

A VICTORIAN SILVER SMALL TRAY, HUKIN & HEATH, LONDON, 1899, oblong, reeded rim, 37cm long across end handles, 737gr

£300-400

206 (illustrated online)

A VICTORIAN SILVER SUGAR BOWL, GEORGE ADAMS FOR CHAWNER & CO., LONDON, 1861, the almost hemispherical bowl bright-cut below the beaded rim with two vacant panels flanked by foliate strapwork panels on a linear ground, rim foot, 11cm diameter; together with a German silver miniature sweetmeat dish, shaped oval on pedestal foot, soft cast with shells and foliage, Hanau, import marked for Eustace George Parker, London, 1896, 8.5cm long; 180gr (2)

£50-80

207

A PAIR OF VICTORIAN SILVER CANDLESTICKS, HARRISON BROTHERS & HOWSON, SHEFFIELD, 1897, oval profile, fluted between reeded borders, flared stems below vase-shaped sconces and detachable nozzles, 21.5cm high, loaded; together with a pair of electroplate two-light candelabra, matching pattern, detachable nozzles throughout, English, early 20th century, 31.5cm high (4)

£250-350

208

A VICTORIAN SILVER SALVER, EDWARD & WILLIAM SMITH, SHEFFIELD, 1852, shaped circular, presentation inscription surrounded by engraved scroll strapwork anthemion motifs, the applied reeded rim interrupted by shells and leafage, on three volute feet, 27cm diameter, 598gr

The inscription reads: This Salver, Part of a Service of Plate was presented to Mr John Eadon as a mark of the Gratitude and Esteem of his Old Pupils. July 1853.

£200-300

209

A VICTORIAN SILVER TEAPOT, R. & S. GARRARD, LONDON, 1842, slightly tapered cylindrical, engraved all over with scrolling foliage and chinoiserie figures in pavilions surrounding vacant cartouches, the flush-hinged flat lid with finial cast as a seated Chinese man clutching a vase and lotus leaf, 15cm high £300-500

210

A VICTORIAN SILVER INKSTAND, C.T. & G. FOX, LONDON, 1853, the stand in the form of a strawberry dish, flat-chased between the ribs with straps, one with engraved scrolled initials JG, with a silver-mounted cut-glass inkwell bolted to the base, 14.5cm diameter £80-120

211

A VICTORIAN SILVER INKSTAND, ATKIN BROTHERS, SHEFFIELD, 1893, elongated oval, trellis pierced at the raised ends, reeded rim, fitted with its two cut-glass inkwells flanking a waisted taperstick bolted to the stand, 25.5cm long, 229gr £100-150

212

A VICTORIAN SILVER INKSTAND, EDWARD BARNARD & SONS, LONDON, 1863, the dished circular base with beaded rim and bright-cut foliage and wrigglework decoration, its bulbous cut-glass inkwell with beaded silver rim mount, the lid with further bright-cutting around scrolled initials MSC, 15cm diameter, 165gr £70-100

A VICTORIAN SILVER-MOUNTED GLASS INKWELL, MAKER'S MARK RUBBED, LONDON, 1855, the thick glass well with flush-hinged silver lid, fitted in a circular stand with reeded borders, the framework surrounded by three holders (perhaps for quills), bearing marks for John Emes, London, 1818, 11cm diameter, stand loaded; together with a George V silver inkstand, rounded square, the dished base on rocaille cast splayed bracket feet, the glass inkwell with cut base and silver hinged top, Henry Matthews, Birmingham, 1913, 11.5cm wide (2) £100-200

A VICTORIAN SILVER INKSTAND, THOMAS BRADBURY & SONS, LONDON, 1888, shaped oblong, in George III style with gadroon borders and a threequarter gallery of pierced scrolls, fitted with its two silver-mounted cut-glass inkwells before a pen depression, on leaf headed volute feet, 24cm long, weighable silver 622gr £250-350

215 ~

A WILLIAM IV SILVER TEAPOT, RICHARD PEARCE & GEORGE BURROWS, LONDON, 1836, compressed circular with bold flutes, applied leaf and flowered spout, cast flower finial, on four anthemion cast feet, silver handle with ivory insulators, 28cm long, 709gr all in £250-350

216

A GEORGE IV SILVER CIRCULAR STAND, THOMAS BURWASH, LONDON, 1822, circular, gadroon rim, on three reeded panel feet, 15cm diameter, 200gr £100-150

217

A GEORGE III SILVER INKSTAND, JOHN EMES, LONDON, 1803, oval with raised ends, reeded borders, on lobed panel feet, with its two cut-glass urn-shaped bottles with silver rim mounts and pierced covers, 19.5cm long, weightable silver 183gr £120-180

218

A GEORGE III SILVER INKSTAND, EMES & BARNARD, LONDON, 1818, oblong, gadroon rim interrupted by shells and acanthus above shaped brackets and paw feet, with pen depressions flanking the palmette decorated fittings, with its two silver-mounted cut-glass inkwells flanking the wax container and taperstick cover, the latter formed as a chamberstick complete with chained extinguisher and detachable nozzle, 20.5cm long, 586gr £400-600

219

A GEORGE III SILVER INKSTAND, JOHN EMES, LONDON, 1797, oblong, with reeded borders, engraved to the well with the date 1796 below the scrolled initials AR, further initialled CC above, fitted with a silver frieze drawer with bun handle, the three cut-glass bottles with silver rim-mounts, two with open covers, the central bottle with taperstick cover in the form of a chamberstick complete with chained extinguisher, 23.5cm long, weighable silver 1022gr £600-800

220

A MATCHED PAIR OF GEORGE III SILVER SALT CELLARS, BOTH LONDON, SARAH & JOHN WILLIAM BLAKE, 1814 AND JOSEPH ANGELL, 1817, pedestal oblong, interiors showing traces of gilding, applied rims of shell, patera and scroll foliate motifs, ovolo band to each foot, 9.5cm long, 271gr £80-120 221

A PAIR OF GEORGE III SHEFFIELD PLATE CANDELABRA, MATTHEW BOULTON & PLATE CO., BIRMINGHAM, CIRCA 1800, with gadroon borders and bands of lobes, the circular bases rising to flared stems and urn-shaped sconces, the three-light branches each with a pair of reeded arms terminating in drippans and conforming sconces, bases with 'sun' mark, 51cm high £300-500

222

A PAIR OF GEORGE III SILVER ENTREE DISHES, COVERS AND HANDLES, WILLIAM BENNETT, LONDON, 1817, typical oblong form with gadroon borders and each engraved with a crest, the gadroon, shell and leaf loop handles with bayonet fittings, all component parts numbered '2' or '3', 30cm long, 3025gr £1500-2500

223

A GEORGE III SILVER COFFEE POT, WILLIAM FOUNTAIN, LONDON, 1798, oval pedestal urn shaped, plain excepting reeded border to shoulder and rim, urn finial, 26cm high, 780gr including wood handle £300-400

A GEORGE III SILVER MUSTARD POT, JOHN EMES, LONDON, 1803, cylindrical, plain excepting an engraved crest and reeded rims, domed lid with ball finial, with a blue glass liner, 8.5cm high; together with a pair of George II silver salt cellars, three footed cauldron form, beaded rims, gilt interiors, maker's mark rubbed, London, 1736, 7cm wide; and a George III silver mustard spoon, Fiddle Thread and Shell pattern, 205gr (4)

£120-180

A GEORGE III SILVER MUSTARD POT, PETER, ANN & WILLIAM BATEMAN, LONDON, 1805, bulging oval, bright-cut with foliate and wrigglework borders between reeded rims, 10.5cm long; together with two similar silver salt cellars, oval, bright-cut between reeded rims, one with initialled cartouche, John Gold, London, 1795, the other with vacant cartouche, Charles Boyton, London, 1875, 9cm long; 238gr excluding three blue glass liners (3) £150-250

TWO GEORGE III SILVER-MOUNTED CUTGLASS MUSTARD POTS, both diaper cut, one urn shaped of cut cornered rectangular tapering form, silver rim mount with gadroon border, the silver cover engraved with a crest below a band of lobes and a cone knop, Benjamin & James Smith, London, 1808, 14cm high, the other pedestal cylindrical, gadrooned and reeded silver rim mount, silver cover reeded and domed below a ball knop, maker's mark indecipherable, London, 1815, 13cm high; together with two Georgian silver mustard spoons, Fiddle pattern, one initialled (4)

£70-100

227 (illustrated online)

A GEORGE III SILVER MUSTARD POT, EMES & BARNARD, LONDON, 1808, oblong, with two ribs below the ovolo rim, bun knop, with blue glass liner, 10.5cm long; together with a rare set of seven George III silver condiment spoons, Fiddle pattern, crested, bowls with traces of gilding, Thomas Streetin, London, 1816, 10.5cm long; 217gr (8)

£80-120

228

A GEORGE III SILVER TRAY, GEORGE ASHFORTH & CO., SHEFFIELD, 1794, oval, reeded rim, engraved with a coat of arms above crossed fronds and within a bright-cut pointed oval, on lobed panel feet, 46cm long, 1532gr

£600-800

229

A GEORGE III SILVER SMALL SALVER, JOHN CROUCH AND THOMAS HANNAM, LONDON, 1786, circular, engraved with a crest, beaded rim, on three beaded panel feet, 17.8cm diameter, 306gr

£200-300

230

A PAIR OF GEORGE III SILVER SALT CELLARS, JOHN ROBINS, LONDON, 1794, pedestal navette shaped, with reeded borders and looping handles, gilt interiors, 13.5cm long, 182gr £100-200

231

A GEORGE II SILVER SALVER, HUGH MILLS, LONDON, 1751, the engraved vacant cartouche of lion masks and fronds including a crest and a monogram, moulded below a shell and scroll rim, on four volute feet, 31.5cm diameter, 947gr £350-450

232

A GEORGE II SILVER SALVER, WILLIAM & ROBERT PEASTON, LONDON, 1758, shaped circular, later engraved with a crest flanked by an inscription surrounded by a flat-chased band of flowers, scrolls and diaper panels, the moulded rim below scrolls and shells, on three pad feet, 21cm diameter, 327gr

The inscription reads: Vice Admiral James R. Dacres to Henry Duncan P. Cunningham, 29th January 1850. £100-150

233 ~

A SILVER-MOUNTED TORTOISESHELL SNUFF BOX, PROBABLY ENGLISH, CIRCA 1740, cartouche shaped, the lid with reeded silver rim mount, mother-of-pearl inlaid and silver overlaid with a huntsman and two dogs and a maiden perched on a beast amidst trees and foliage surrounded by a Rococo border of scrolls, rocaille and fruit-laden vines inhabited by birds and a sphinx, 7.8cm long £300-400

236

THREE SILVER PILL BOXES, BY ANN COMMON OF GALLOWHILL (MORPETH), EDINBURGH, 1977 / 86, the earlier rectangular box set to the lid with a Chinese engraved mother-of-pearl counter, the two circular boxes and covers, one with another Chinese counter, the other set with an enamelled roundel of a pansy flower and forget-me-nots, 4.5cm longest £60-100

237 (illustrated online)

234 ‡

A PRESSED HORN SMALL BOX AND COVER, PROBABLY GERMAN OR TYROL, 17TH CENTURY, circular, the cover with Adam and Eve flanking the tree of knowledge titled 'ADAMO' and 'EVA', the underside with a dragon and a mermaid flanking a square surmounted by a seraphim, 5.3cm diameter £80-120

235

A WILLIAM IV SILVER SNUFF BOX, THOMAS SHAW, BIRMINGHAM, 1832, oblong, vacant rectangular cartouche, engine-turned top and base, reeded sides, foliate thumbpiece, gilt interior, 8.3cm long, 125gr £100-150

A GEORGE V SILVER TRINKET BOX, HENRY MATTHEWS OF BIRMINGHAM, CHESTER, 1911, circular, the lid pierced with a vacant cartouche and concentric scroll foliate bands, on four leaf-headed feet, gilt interior, 8.5cm; together with a George V silver vesta box, plain oblong with slightly domed lid, striker applied to rear, wood lined, Goldsmiths & Silversmiths Ltd., London, 1914, 9.7cm long; and a George V silver matchbox holder, rectangular, with linear engineturning surrounding a vacant roundel, Chester, 1910, 7.7cm long; weighable silver 203gr (3) £80-120

238 ‡

A FRENCH SILVERED COPPER SNUFF BOX, PARIS, CIRCA 1770, oval, stamped with a variety of foliate and architectural motifs, gilt interior, 8.5cm long £100-200

241 ‡

A SILVER-GILT AND GUILLOCHE ENAMEL BOX, PROBABLY GERMAN, CIRCA 1930, circular, the top and sides in translucent lilac enamel within plain borders, the engine-turned base without enamel, gilt interior with mirror set lid, stamped '935', 5.4cm diameter £100-150

239

A DUTCH SILVER TOBACCO BOX, MAKER'S MARK INDECIPHERABLE, 1855, oblong with slightly doomed top and bottom, the lid engraved with a horse standing in an arabesque arcade surrounded by foliate scrolls and diaper panels, with reeded sides, 833 standard, 13.5cm long, 137gr £70-100

240

A NORWEGIAN GUILLOCHE ENAMEL AND SILVER-GILT BOX AND COVER, MARIUS HAMMER, BERGEN, CIRCA 1910, circular, with magenta translucent enamel over a gold scroll and foliate motif border on an engine-turned ground, Marius Hammer monogram marks and import marks for Henry James Hulbert, London, 1910, 5.3cm diameter, 65gr all in £200-300

242

A JAPANESE SILVER BOX, EARLY 20TH CENTURY, square, hammer finished, the lid with an arabesque panel chased with birds amid a stand of bamboo, with simulated bamboo rims, on short bracket feet, 8.5cm wide, 199gr £100-200

243 ‡ ~

AN AGATE AND SILVER-GILT SMALL BOX, PROBABLY GERMAN, UNMARKED, 20TH CENTURY, circular, the lid set with banded agate, the sides engine-turned, 5cm diameter; together with a German silver box, cut cornered rectangular, the lid soft cast with the Triumph of Venus within foliate borders, circa 1900, '800' standard, 6.7cm long; and a French poudre d'écaille box base with an associated lid, oval, gold and silver piqué work, tortoiseshell lined, with later gilt-metal rim mounts to the banded agate top, late 18th century and later, 9cm long (3)

£150-250

244

A FRENCH 'PALAIS ROYAL' TYPE BOX, MAISON ALPHONSE GIROUX, PARIS, CIRCA 1830, rectangular, the mother-of-pearl panels engraved with formal foliate borders, the gilt-metal rim mounts milled with paterae and further leafage between urns and winged putti, on acanthus headed hoof feet, the blue velvet lined interior with mirror-set lid, underside with original label 'AU COQ HONORE / Rue du Coq St. Honoré No.7 / Chez ALPH. GIROUX....', 17cm long

Alphonse Giroux (1776-1848) traded at the sign 'Au Coq Honoré', variously under his own name and in partnership as A. Giroux et Cie, listed at No. 7 rue du Coq (now the rue Marengo) between 1806-1850. This famous business carried out an extraordinary array of activities, including: suppliers of materials for artists, publishers, picture dealers holding exhibitions of old masters and contemporary art, picture restorers to the church of Notre Dame, pioneer producers of daguerreotypes, cabinet makers supplying the Royal Family, stationers and traders of luxury goods and 'objects de fantaisie'.

£200-300

245 ~

AN INLAID TORTOISESHELL CHEROOT OR CIGAR CASE, PROBABLY FRENCH, LATE 19TH CENTURY, rounded oblong, the lid inlaid in gold, silver, mother-of-pearl and ivory with a shield engraved SS below a count's coronet in an oval frame flanked by spandrels, flowerheads and scrolls, 13.5cm long £100-150

246 ~

A PORTRAIT MINIATURE OF LADY LOUISA ATHERLEY, BY MRS ANNE MEE (NEE FOLDSONE, 1765-1851), CIRCA 1795, wearing a white chemise above a pale blue bodice, her curled loose hair topped by white ostrich feathers issuing from a black band, on ivory, in a gilt matted oval mount and engineturned gilt-bronze glazed frame, the gilt-bronze reverse inscribed, image 7.8cm high

The inscription reads: The Lady Atherley / youngest d[aughte]r of William / 5th Marquis [sic] of Lothian

Provenance: through the descendent family of Major-General Lord Robert Kerr (the youngest son of the 5th Marquess of Lothian) to the vendor.

Lady Louisa Kerr (1768-1819) was married in 1793 to Arthur Atherley (1772-1844) of Southampton and Landguard Manor on the Isle of Wight, thrice a Whig MP for Southampton. £400-600

247 ‡ ~

A PRESSED BURR WOOD BOX AND COVER, FRENCH, EARLY 19TH CENTURY, circular, waisted sides, the cover pressed with a bathing Suzanna surprised by the Elders above the title 'SUSANNE SURPRISE AU / BAIN', the underside simulating rose turning, interior with tortoiseshell sides, 8.5cm diameter £100-150

248 ~

A FRENCH BLOND HORN SNUFF BOX AND COVER WITH MINIATURE BY PIAT-JOSEPH SAUVAGE (1744-1818), PARIS, CIRCA 1800, circular, the glazed cover set within a gold rim mount with 'The Triumph of Cupid' painted 'en camaïeu' on ivory, signed 'Sauvage' to the exergue, the sides and base with gold piqué work of small stars between interlaced borders, 7.4cm diameter £250-350

249 ‡

A SWISS GOLD AND BASSE-TAILLE ENAMEL SNUFF BOX, GENEVA, CIRCA 1840, rectangular, enamelled all over with ribbon-tied leaf borders around flower sprays and butterflies, raised base rim, two unidentified later control marks on inner rim, 7cm long, 159gr

For another box of the same pattern, but enamelled with the slightest variation in colouring, see Christie's, London, 5 December 2019, lot 26.

£4000-6000

250 ‡

A SWISS GOLD SNUFF BOX, GENEVA, CIRCA 1790, oval, fine linear ground rose-turned and bright-cut, the top with a pavillion beside a stretch of water with a sailboat, the sides and base with stylised foliate swags, waved line borders, interior marked to lid and base with a crowned script incuse 'J' flanked by prestige marks, 7.1cm long, 60gr

£1000-1500

251 ‡

AN AUSTRIAN GOLD-MOUNTED HARDSTONE BOX, ANTON DUDEUM, VIENNA, 1799, oval, the top and base set with Egyptian jasper, the sides with twenty specimen hardstone panels, gold borders chased with scrolls and pellets, Austrian 2nd standard (18 carat) mark, date and maker’s mark, 9.1cm long £2000-3000

252 ‡

A GOLD-MOUNTED MOSS AGATE SNUFF BOX, PROBABLY GERMAN, CIRCA 1800, cut-cornered rectangular, with plain hinged rim mounts, unmarked, 8.9cm long £700-1000

253 ‡

A FRENCH GOLD-MOUNTED ROCK CRYSTAL BONBONNIERE AND COVER, JEAN-LOUIS LEFERRE, PARIS, 1798-1809, circular, the mounts with scroll motif, post revolutionary unregistered '3e titre' (18ct), Paris '3e titre', 'moyen guarantie' (base), and 'petite guarantie' (cover), 6.5cm diameter £500-800

254 ‡

A GOLD-MOUNTED PORCELAIN SNUFF BOX, GERMAN, CIRCA 1760, rectangular with domed lid, painted all over including to interior lid with charming vignettes of figures amidst architectural gardens, the gold rim mounts rippled to the interior, the lid mount engraved with scroll foliage against a diaper ground, unmarked, 7.7cm long £700-1000

255

EVENING BAG, 1920s, the tricoloured mesh bag with a chequerboard design suspended from a rigid frame engraved with a floral design fastened with a tiered clasp set with a square sapphire and chain handle, 136.6gr £2500-3000

256

IWC PORSCHE DESIGN CHRONOGRAPH, REF.3732: A GENTLEMAN’S

TITANIUM BRACELET WATCH, CIRCA 1985, quartz movement, black dial with luminous hour markers and baton hands, red centre chronograph hand, subsidiary dials for running seconds, 30 minute and 12 hour recording, date aperture between 4 and 5, tonneau shaped case with screw back and screw-down crown between flush pushers, the flat link bracelet with signed deployant clasp, case numbered 2428894, movement numbered 2667151, case, dial and movement signed, case 36mm diameter £400-600

257

LADY'S GOLD BRACELET WATCH, JAEGER LE COUTRE, 1960s, the chunky stylized curb bracelet with a central square silvered dial with gold '12', baton indicators and hands, with a deployant clasp and back winder, Geneva gold marks and numbered, length approximately 175mm, 85.7gr including manual movement & glass £3000-4000

258

LADY’S GOLD BRACELET WATCH, BOUCHERON, PARIS, CIRCA 1964, the bracelet of two rows of reeded double curb links coupled to the underside and incorporating the rectangular watch engraved to the sides to simulate continued links, with slide clasp, the rectangular brushed gold dial with bright-cut engraved baton indicators, signed, snap-on back with French gold mark and signed 'BOUCHERON MADE IN FRANCE' and numbered 8799, signed to bracelet terminal 'BOUCHERON PARIS' and numbered 1203255, interior of watch back numbered 12771 and 18 carat gold import marked for Boucheron (BMCo), London, 1964, inner circumference 190mm approximately, 77.7gr excluding manual movement, including glass

£3000-4000

259

LADY'S BRACELET WATCH, OMEGA, 1960s, manual wind, the circular matte dial with gold and black baton indicators and black hands to a tapering textured articulated bracelet with Omega clasp, Swiss gold mark, length approximately 160mm, 48.9gr all in £800-1200

260

LADY'S BRACELET WATCH, OMEGA, 1980s, the oval gold matte dial with bead indicators within a rope work bezel on an articulated woven bracelet with Omega clasp, Swiss gold mark, internal bracelet measurement 175 mm approximately, 30.9gr (including glass excluding quartz movement)

261

SEED PEARL LONG CHAIN, the flat elliptical double link chain with baroque seed pearl spacers, length approximately 1100mm, 28gr £500-700

262

GOLD OPEN FACE POCKET WATCH, LATER 19TH CENTURY, Swiss key wound movement, white enamel dial with Roman numerals, the mid size circular case initialled to the back RB in a shield surrounded by engine-turning, cuvette with two vacant cartouches and engine-turning, French 18 carat gold marks to back, cuvette and side, with an associated key, 3.2cm; together with a gold Albert watch chain, of curb links graduating from the T-bar down to a gilt-metal swivel hook, 9 carat gold hallmarks, 25.5cm long £300-400

263

LADY'S OPEN FACED POCKET WATCH, LATE 19TH CENTURY, the white ceramic dial with black Roman numerals, gold hands and detailing in an engraved floral and foliate case with winder, Swiss gold mark for 18 carat, dial measures 30mm approximately £80-120

264

MINIATURE HARDSTONE DIRK BROOCH, LATE 19TH CENTURY, the handle designed as a thistle set with a citrine, the hilt carved from green chalcedony, length approximately 43mm

£150-250

265

ETRUSCAN STYLE STICK PIN, ILIAS LALAOUNIS, 1970s circular, with a rope twist floral and star design, maker's mark, length approximately 46mm, 3gr £150-200

266

COLLECTION OF SIX BROOCHES, comprising: 9 carat gold shell cameo pendant brooch, Birmingham hallmark 1973; oval ceramic brooch of lady in a purple hat; 9 carat gold 'Fides' hand holding a heart brooch, Birmingham hallmark 1891; three stone citrine brooch in scroll surround (broken); seed pearl and green paste torpedo brooch, maker's mark H&CB; and oval engraved brooch with seed pearls and red paste £300-500

267

ENAMEL AND DIAMOND RING, the elliptical blue enamelled bezel with a central floral and foliate motif set with foiled single-and brilliant-cut diamonds within a cream enamel scalloped border, size M

£300-500

COLLECTION OF PASTE JEWELLERY, comprising:pair of articulated triangular blue paste pendent earrings; pair of paste cluster earrings; kite shaped pendant with a green millegrain set paste and suspending a stimulant pearl and an eternity ring channel set with paste, size K (6)

A DIAMOND-SET SILVER BROOCH, SURAKARTA, JAVA, 19TH CENTURY, in the form of an openwork buckle, with scrolling leaf design, 7.5 x 4.3cm

Provenance: Collection of a deceased diplomat, thence by descent.

PAIR OF 'COIL' EARRINGS, FANOURAKIS, each flattened blackened hoop set with a tesserae of lasque cut diamonds, unsigned, length approximately 35mm, 21.3gr

FIVE GEM SET BUTTONS, each designed as a flower head set with multicoloured gemstones including garnets, quartz and peridot

COLLECTION OF PASTE JEWELLERY, comprising: double bow brooch set throughout with paste, French mark; diamond shaped open work brooch with millegrain edges set to the centre with a purple paste, German silver '935', makers mark JD; pair of blue stone pendent earrings (4)

DIAMOND AND SYNTHETIC SAPPHIRE RING, the circular diamond millegrain set between trapezoid shaped synthetic sapphires on a carved scrolled gallery between shoulders set with single cut stones, size O £300-400

SYNTHETIC BLUE SPINEL RING, the step cut synthetic blue spinel in a raised pieced gallery, size N £200-300

277

YELLOW DIAMOND RING, the rose cut pear shaped diamond within a foiled setting surrounded by single-cut diamonds between split similarly cut diamond shoulders, size O £1200-1500

278

DIAMOND AND PINK SAPPHIRE RING, the oval pink sapphire within a border of brilliant-cut diamonds set between two marquise-cut diamonds and tapering shoulders set with two rows of baguette diamonds, RH maker's mark, size L £800-1000

279

SAPPHIRE AND DIAMOND BRACELET, the articulated row of oval sapphires each set within a border of brilliant-cut diamonds, length approximately 183mm £800-1000

280

DIAMOND AND PINK SAPPHIRE BRACELET, designed as an articulated row of oval synthetic pink sapphires within brilliant-cut diamond surrounds, length approximately 170mm £800-1000

DIAMOND PENDANT, designed as a zig zag motif set throughout with Princess-, brilliant-cut, tapered baguette and baguette stones on a fine fox tail link back chain, length approximately 450mm £1000-1200

DIAMOND NECKLACE, set to the front with a central cluster set with brilliant-cut diamonds between two demi clusters similarly set on a long tapering and short link chain necklace, length approximately 415mm £300-400

RUBY AND DIAMOND NECKLACE, the front suspending five clusters set with a central oval ruby within brilliantcut diamond surrounds alternating with similarly cut diamond pendants on a long link and bead chain, length approximately 415 mm £800-1000

RUBY AND DIAMOND DRESS RING, 1960s, the brilliant-cut diamond bouton cluster decorated with curving rows of circular rubies on a raised wirework gallery, size M½ £400-600

EMERALD AND DIAMOND RING, of foliate crossover design set with single and brilliant-cut diamonds with a polished emerald bud and a corresponding pavé set brilliant-cut diamond bud, size O £800-1200

DIAMOND RING, 1960s designed as a cluster of brilliant-cut diamonds on a raised gallery between tapering shoulders, size N ½ £400-600

GOLD AND TURQUOISE BRACELET, 1860s, designed as a series of foliate engraved baton links, interspersed with spiral links, supporting a heart-shaped foliate engraved padlock clasp, decorated with cabochon turquoise, with glazed hair locket to the reverse, length approximately 220mm

288

DIAMOND PARROT BROOCH, claw set with a flat rose-cut diamond depicting the head of a parrot with single-cut diamond eye, approximately 25 x 25mm

289

DIAMOND RING, inset with five graduated brilliant-cut diamonds, British import marks for 18-carat gold, ring size O 1/2

HARDSTONE CAMEO AND HALF-PEARL BROOCH, 1890s, the oval hardstone cameo carved to depict the dextral profile of a maiden within a half-pearl frame.

291

PAIR OF DIAMOND EARRINGS, each suppporting a rose-cut diamond drop to a similar surmount, in closed foil back settings.

292

HERCULES KNOT BANGLE, ILIAS LALAOUNIS, 1970s, the ridged hinged bangle designed with a central interlocking fluted and plain looped knot, maker's mark, internal diameter 60mm approximately, damage by hinge, 18.5gr £400-600

293

HERCULES KNOT TORQUE NECKLACE, the hollow circlet meeting in a knot motif of fluted and plain interlocking loops, internal width diameter 250mm approximately, 30gr £1000-1200

294

PEARL, TURQUOISE AND DIAMOND BROOCH / PENDANT, 1950s, designed as a bow set with a central circular diamond with lattice set turquoise and bordered by seed pearls £200-300

295

AQUAMARINE AND DIAMOND RING, of cluster design set to the centre with an oval aquamarine within a surround of brilliant-cut diamonds, size M £600-800

296

AQUAMARINE RING, the mixed cut square aquamarine claw set in a simple mount, size L ½ £500-700

297 † (illustrated online) UNMOUNTED AQUAMARINE, rectangular, mixed cut stone; together with a cushion mixed cut paste £500-700

298

AQUAMARINE AND DIAMOND RING, the oval aquamarine within a surround of single-cut and an outer tier of brilliant-cut stones, size I ½ £400-600

299

GOLD AND DIAMOND RING, CIRCA 1996, claw set with five brilliantcut diamonds, 18 carat hallmarked London 1996 £500-700

300

GOLD BROOCH, HARRIET GLEN, CIRCA 1997, designed as a wren with textured feathers perched on a bough with a circular sapphire eye, 18 carat London hallmark for 1997, 8.1gr £300-400

A

OF ONYX, MOTHER-OF-PEARL AND DIAMOND PENDENT EARRINGS,

302

PAIR OF EARRINGS AND RING, ILEANA MAKRI, the earrings designed as a pair of graduated cushion-shaped plaques of textured design, clip and post fittings, length 30mm approximately, the ring of matching design, diameter 24mm, size L 1/2, earrings indistincly stamped IAM, ring unmarked £300-400

303

TWO RINGS, one inset with an oval nephrite jade plaque, size Q, the other of Greek Key design, accented with colourless stones, size N £200-300

304

PAIR OF CUFFLINKS, VAN CLEEF & ARPELS, each designed as a pair of removeable fluted batons, signed Van Cleef et Arpels, Paris, numbered 55169, French assay and maker’s marks

£2000-3000

305

TWO DIAMOND RINGS, one claw set with a brilliant-cut diamond, British hallmarks for 9 carat gold, size M 1/2, the other claw set with three graduated brilliant-cut diamonds, size G £300-500

306

PAIR OF ONYX AND DIAMOND PENDENT EARRINGS, each supporting a pear-shaped cabochon onyx drop accented with brilliant-cut diamonds, clip fittings £350-450

307

SAPPHIRE AND DIAMOND LEOPARD BROOCH, decorated with circular-cut sapphires and single-cut diamonds, British import marks for 9 carat gold stamped to pin £150-200

SCARAB PENDANT AND CHAIN, the beetle set with single-cut diamonds with circular ruby eyes decorated on the reverse with a Ankh cross motif suspended from a chain of long rod and bead links, length approximately 450mm, 21gr £700-900

309

GOLD BROOCH AND PENDANT, brooch designed as an openwork textured duck with circular ruby eye, 18 carat import marks for 1975, makers mark FD, 4.1gr, pendant designed as a stretching serpentine cat, 9 carat London hallmarks 1980,16.4gr; together with a step-cut citrine ring, size O £300-400

310 (illustrated opposite)

CARNELIAN AND DIAMOND PAIR OF EAR PENDANTS AND ENHANCER, 1980s, pendant enhancer horizontally set with a similarly carved carnelian, the tapering surmount set with brilliant-cut diamonds, makers mark RJ, pair of ear pendants, the smaller oval carved carnelian within a border of brilliant-cut diamonds suspending a larger similarly cut drop; together with a ring set with a central oval polished carnelian within a surround of single-cut diamonds between split similarly cut diamond shoulders, makers mark S, size Q (4)

£600-800

311 (illustrated opposite)

THREE EMERALD AND DIAMOND RINGS, comprising: step-cut emerald within a surround of brilliant-cut diamonds, size L½; double heart 'invisibly' set with circular diamonds with tapering single-cut diamond shoulders, 9 carat gold London hallmark 1996, size L½; and marquise shaped emerald within a surround of brilliant-cut stones, 18 carat gold London hallmark 1989, makers mark SJ, size N½ £300-400

312 (illustrated opposite)

RUBY RING, the pear shaped ruby within a row of circular stones, size L £250-350

313 (illustrated opposite)

GOLD BRACELET, CIRCA 1976, designed as an undulating gate link bracelet with padlock clasp, both 9 carat hallmarked London 1976 and makers mark RB Ltd, length approximately 19mm (excluding padlock), 14gr £250-350

314 GOLD CHARM BRACELET, CIRCA 1950, bracelet with hollow trace links, 9 carat hallmarked Birmingham 1950, maker's mark PJ, suspending approximately fiftythree charms including a London bus, 'the golden rule' ruler, a suitcase, a Queen Elizabeth II boat, and a wishing well, with three additional detached charms, the majority with 9 carat gold hallmarks, padlock clasp hallmarked 9 carat Birmingham 1970, 165.5gr

£2500-3500

315

GOLD KEY HOLDER AND PENKNIFE, ASPREY, CIRCA 1935, the key holder and penknife with engine turned decoration, 9 carat hallmarked London 1935 and makers mark, 37.7gr, together with a bi-coloured long and trace link watch chain, length approximately 335mm, 6.8gr £300-400

316

HALF SOVEREIGN PENDANT, CIRCA 1902, the half sovereign coin suspended from a scrolled surmount, 5gr £150

317

HERCULES KNOT RING, ILIAS LALAOUNIS, 1970s, of flattened interlocking loop design, maker's mark, size Q, 6.5gr £600-800

318

'TRINITY' RING, LE MUST DE CARTIER, designed as a Russian wedding ring of five interlocking bands, size L½, 9.5gr £500-700

319

PAIR OF GOLD KNOT EARRINGS, CIRCA 1996, each designed as a double knot of tricoloured gold, 9 carat hallmarked 1996, makers mark AC, 6.3gr £100-150

End of

Conditions of Business for Buyers

1. Introduction

(a) The contractual relationship of the Auctioneers and Sellers with prospective Buyers is governed by:-

(i) these Conditions of Business for Buyers;

(ii) the Conditions of Business for Sellers displayed in the saleroom and available from the Auctioneers;

(iii) The Auctioneers Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any Saleroom Notice or Auctioneers Announcement.

(b) As Auctioneers, the Ltd Company hosting the auction acts as agent for the Seller. Occasionally, the Auctioneers may own or have a financial interest in a lot.

2. Definitions

“Bidder” is any person making, attempting or considering making a bid, including Buyers;

“Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent;

“Seller” is the person offering a lot for sale, including their agent, or executors;

“Auctioneers” Olympia Auctions.

“Buyer’s Expenses” are any costs or expenses due to the Auctioneers from the Buyer;

“Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers;

“Hammer Price” is the highest bid for the Property accepted by the Auctioneers at the auction or the post auction sale price;

“Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses;

“Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot.

The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable.

3. Examination of Lots

(a) The Auctioneers knowledge of lots is partly dependent on information provided by the Seller and the Auctioneers are unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions.

(b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of the Auctioneers opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at the Auctioneers absolute discretion.

4.Exclusions and limitations of liability to Buyers

(a) The Auctioneers shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of the Auctioneers Authenticity Guarantee.

(b) Subject to Condition 4(a), neither the Auctioneers nor the Seller:-

(i) is liable for any errors or omissions in any oral or written information provided to Bidders by the Auctioneers, whether negligent or otherwise;

(ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Sellerto the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers;

(iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by the Auctioneers in connection with the conduct of auctions or for any matter relating to the sale of any lot.

(c) Without prejudice to Condition 4(b), any claim against the Auctioneers and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither the Auctioneers nor the Seller shall be liable for any indirect or consequential losses.

(d) Nothing in Condition 4 shall exclude or limit the liability of the Auctioneers or the Seller for death or personal injury caused by the negligent acts or omissions of the Auctioneers or the Seller.

5. Bidding at Auction

(a) The Auctioneers has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as the Auctioneers requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case the Auctioneers prior and express consent must be obtained).

(b) The Auctioneers advises Bidders to attend the auction, but the Auctioneers will endeavour to execute absentee written bids provided that they are, in the Auctioneers opinion, received in sufficient time and in legible form.

(c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to the Auctioneers other commitments; the Auctioneers is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.

6. Import, Export and Copyright Restrictions

(a) The Auctioneers and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer's sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licences required under the Convention on the International Trade in Endangered Species (CITES).

(b) Ivory and Restricted Materials (CITES)

‘~’ Lots marked with the symbol ~ have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export. As the Auctioneers of these articles, the Auctioneers undertakes to comply fully with CITES and DEFRA regulation. Buyers are advised to inform themselves of all such regulations and should expect the exportation of items to take some time to arrange. The information is made available for the convenience of Bidders and the absence of the symbol is not a warranty that there are no restrictions regarding import or export of the Lot. The Auctioneers accepts no liability for any lots which may be subject to CITES but have not be identified as such.

7. Conduct of the Auction

(a) The auctioneer has discretion to refuse bids, withdraw or reoffer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary.

(b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable.

(c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer's hammer.

(d) Any post-auction sale of lots shall incorporate these Conditions of Business.

8. Payment and Collection

(a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date").

(b) Title in a lot will not pass to the Buyer until the Auctioneers has received the Purchase Price in cleared funds. The Auctioneers will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer's obligation to pay the Purchase Price, as above.

(c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a).

(d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer's risk from the earlier of (i) collection or (ii) 10 working days after the auction. Until risk passes, the Auctioneers will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. The Auctioneers assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers.

(e) All packing and handling of lots is at the Buyer's risk. The Auctioneers will not be liable for any acts or omissions of third party packers or shippers.

9. Remedies for non-payment

Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, the Auctioneers may in its sole discretion exercise one or more of the following remedies:-

(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense;

(b) cancel the sale of the lot;

(c) set off any amounts owed to the Buyer by the Auctioneers against any amounts owed to the Auctioneersby the Buyer for the lot;

(d) reject future bids from the Buyer; (e) charge interest at 4% per annum above HSBC Bank plc Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds;

(f) re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale;

(g) Exercise a lien over any Buyer’s Property in the Auctioneers possession, applying the sale proceeds to any amounts owed by the Buyer to the Auctioneers. The Auctioneers shall give the Buyer 14 days' written notice before exercising such lien;

(h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings

10. Failure to collect purchases

(a) If the Buyer pays the Purchase Price but does not collect the lot within 10 working days of the auction, the lot will be stored at the Buyer's expense and risk at the Auctioneers premises or in independent storage

(b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, the Auctioneers will re-sell the lot by auction or privately, with estimates and reserves at the Auctioneers discretion. The sale proceeds, less all the Auctioneers costs, will be forfeited unless funds or the unsold items collected by the Buyer within 2 years of the original auction.

11. Data Protection Privacy Policy

(a) What is the legal basis on which the Auctioneers rely to process your data?

On some occasions, the Auctioneers processes your data with your consent (e.g., when you agree that the Auctioneers may place cookies, or if you ask, the Auctioneers, to send you information about upcoming events).

On other occasions, the Auctioneers processes your data when the Auctioneers need to do this to fulfil a contract with you (e.g., for billing purposes) or where the Auctioneers are required to do this by law (e.g., where we have to fulfil anti-money laundering requirements). If it is mandatory for you to provide data for these purposes, the Auctioneers will make this clear at the time and will also explain what will happen if you do not provide the data (e.g., that the Auctioneers will not be able to process a bid at auction). The Auctioneers also processes your data when it is the Auctioneers legitimate interests to do this and when these interests are not overridden by your data protection rights. For example, the Auctioneers has a legitimate interest in ensuring the security and integrity of the auctions, in learning about the interests and preferences of current and prospective clients, in developing new business opportunities, in maintaining accurate business and provenance records, and in ensuring that the Auctioneers websites and apps operate effectively. When the Auctioneers process personal information to meet the Auctioneers legitimate interests, the Auctioneers put in place robust safeguards to ensure that your privacy is protected and to ensure that the Auctioneers legitimate interests are not overridden by your interests or fundamental rights and freedoms.

(i) The Auctioneers will use information supplied by Bidders or otherwise obtained lawfully by the Auctioneers for the provision of auction related services, client administration, marketing and as otherwise required by law.

(ii) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11 (a) (i)

(b) Who gets to see your personal data?

The Auctioneers and other auctioneer’s at Olympia Auctions, such as Charles Miller Ltd. The Ltd company that initially receives your data will process it. Your data may also be transferred to and processed by other companies within the group of Auctioneers. The Auctioneers uses EU Commission approved standard contractual clauses to regulate the transfer and processing of data between the Auctioneers.

Outside the Auctioneers

The Auctioneers do not transfer your personal data to organisations who wish to use it for their own marketing promotions or other purposes. The Auctioneers only transfer your personal data to other organisations where it Is necessary to enable the Auctioneers to provide you with the services you have requested (for example: the Auctioneers may transfer your data to the Auctioneers bank, payment card acquirers, shippers, warehouses, insurers, experts who help the Auctioneers authenticate or value property, event venues, caterers, catalogue and direct marketing fulfilment and distribution). Where the Auctioneers do it will be on the basis that these organisations are required to keep the information confidential and secure, and they will only use the information to carry out the instructed services. Some of these organisations may be located outside the EEA. The Auctioneers may also need to retain and disclose certain information about you to appropriate agencies to conduct antimoney laundering and trade sanction checks and to assist with fraud and crime prevention and detection.

When the Auctioneers receive a request for information from a government or law enforcement agency the Auctioneers will disclose information which is the subject matter of that request, if the Auctioneers are satisfied that the government or law enforcement agency has the right to seek disclosure and the correct procedure has been followed. In all other circumstances such information will only be disclosed if the Auctioneers are ordered to do so by a court of law.

(c) How long will the Auctioneers keep your personal data?

The Auctioneers will retain your personal data for as long as is necessary to provide the relevant services, maintain business records to satisfy tax, legal and other regulatory requirements, and protect and defend against potential legal claims.

In the context of our research and records on ownership of art objects to assist with checks on authenticity provenance and title, we will keep this data for as long as the record is relevant to our legitimate business interest and the public interest.

What steps do the Auctioneers take to keep your personal data secure?

The Auctioneers will take all reasonable and appropriate steps to protect the security and integrity of all personal information provided via our website, or by any other means electronic or otherwise.

The Auctioneers use a variety of security technologies and procedures to help protect your personal details from unauthorised physical and electronic access.

As effective as modern security practices are, we cannot guarantee the complete security of personal data held in our systems, nor that information you supply through the internet or any computer related network is entirely safe from unauthorised intrusion, access or manipulation during transmission. Any transmission is at your own risk. We will not be liable for any resulting misuse of your personal data.

(d) Third party websites

The Auctioneers website may contain links to other websites not operated by us, the Auctioneers. The information you provide to us will not be transmitted to other websites, but these other websites

may collect personal information about you in accordance with their own privacy notice. We as the Auctioneers cannot accept any responsibility for the privacy practices or content of those websites.

(e) Your data

You have the right to request deletion of your personal data. The Auctioneers will comply with this request, subject to our legitimate interests as noted above.

How can I access the information you hold about me?

You have the right to request a copy of the information we hold about you. If you would like a copy of some or all of your personal information then please write to the Auctioneers or email the Auctioneers.

The Auctioneers have an obligation to ensure that your personal information is accurate and up to date. Please write to the Auctioneers or email the Auctioneers to correct or remove any information that you think is incorrect.

(f) Complaints

If you have any queries or complaints in relation to the Auctioneers processing your personal data please contact the Auctioneers.

12. Miscellaneous

(a) All images of lots, catalogue descriptions and all other materials produced by the Auctioneers are the copyright of the Auctioneers.

(b) These Conditions of Business are not assignable by any Buyer or Seller without the Auctioneers prior written consent, but are binding on Bidders' successors, assigns and representatives.

(c) The materials listed in Condition 1(a) set out the entire agreement between the parties.

(d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect.

(e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of the Auctioneers.

Authenticity Guarantee

If the Auctioneers sell an item of Property which is later shown to be a “Counterfeit”, subject to the terms below the Auctioneers will rescind the sale and refund the Buyer the total amount paid by the Buyer to the Auctioneers for that Property, up to a maximum of the Purchase Price.

The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“Counterfeit” means an item of Property that in the Auctioneers reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property.

Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work (including, but not limited to, recolouring, tooling or repatinating).

Please note that this Guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive

or impractical; or likely to have caused damage to or loss in value to the Property (in the Auctioneers reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.

To claim under this Guarantee, the Buyer must:(i) notify the Auctioneers in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to the Auctioneers in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale.

The Auctioneers have discretion to waive any of the above requirements. The Auctioneers may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field and that are acceptable to the Auctioneers. The Auctioneers shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event the Auctioneers decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by the Auctioneers.

European Works of Art

Date: 23/11/2022

Code: POPCORN

Please mail, fax or scan and email to: Olympia Auctions 25 Blythe Road London W14 0PD

Fax +44 (0) 20 7806 5546

Email: decorativearts@olympiaauctions.com

Important

Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.

I agree to be bound by Olympia Auctions Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.

Methods of Payment

Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.

Online: www.OlympiaAuctions.com/payments

Wire Transfer to our Bank

Electronic transfers may be sent directly to our Bank: HSBC Bank 38 High Street Dartford Kent DA1 1DG

IBAN No: GB39HBUK40190422033119

BIC: HBUKGB4B

Sort Code: 40 19 04

Account No: 22033119

Account Name: Olympia Auctions Debit Card

We are pleased to accept UK debit cards. Please note that we do not accept credit cards

Sterling Bankers Draft

Drawn on a recognised UK bank.

Sterling Cash or Cheque

Cheques must be drawn on a recognised UK bank. We require seven days to clear a cheque without a letter of guarantee from your bank.

ABSENTEE BID FORM

Name Address Postcode Telephone Alternative Telephone Email

Olympia Auctions, 25 Blythe Road, London W14 0PD

Tel:+44 (0) 20 7806 5545 Email: decorativearts@olympiaauctions.com www.olympiaauctions.com